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Full text of "AWS 924-948 Owner's Manual"

Solid State Logic 

SOUND VISION 



AWS 924-948 
Owner's Manual 



Solid State Logic 
Begbroke, Oxford, England OX5 IRU • +44 (0)1865 842300 

320 West 46th Street, 2nd Floor, New York, NY 1 0036, USA •+1(1)2123151111 
3700 Wilshire Blvd, Suite 720, Los Angeles, CA 90010, USA • +1 (I) 213 249 9229 

3-55-14 Sendagaya, Shibuya-Ku, Tokyo 1 5 1 -005 1 , Japan • +81 (0)3 5474 I 144 

7 bis, rue de la Victoire, le Blanc Mesnil, Paris 93 1 50, France • +33 (0) I 48 67 84 85 

Via Timavo 34, 20124 Milano, Italy • +39 (0)39 2328 094 



Visit SSL at http://www.solidstatelogic.com 



82BAIM0IB 

© Solid State Logic 
All Rights reserved under International and Pan-American Copyright Conventions 



Solid State Logic, SSL, AWS 900, AWS 900+ SE, AWS 924, AWS 948 
and Total Recall are trademarks of Solid State Logic 

All other trademarks are the property of their respective owners 



No part of this publication may be reproduced in any form or 

by any means, whether mechanical or electronic, without the 

written permission of Solid State Logic, Oxford, England 



Initial release (I A) October 2010 

Added console dimensions to Appendices (I A) November 2010 

UL clarification of power connection, specifications and termination (IB) January 201 I 



As research and development is a continual process, Solid State Logic reserves the right 
to change the features and specifications described herein without notice or obligation. 

E&OE 



Introduction 



Important Information 

This section contains definitions, warnings, and practical information necessary to ensure a safe working environment. Please 
take time to read this section before installing or using your AWS. Please do not dispose of these instructions. 

Graphic Symbols 

The following symbols may be used in this section and elsewhere in this manual: 



A 
A 



General Hazard (refer to User or Service Instructions for details) 



Electrical Hazard 



General Safety 

• Read these instructions. 

• Keep these instructions. 

• Heed all warnings. 

• Follow all instructions. 

• Do not use this apparatus near water. 

• Do not expose this apparatus to rain or moisture. 

• Clean only with dry cloth. 

• Do not block any ventilation openings. Install in accordance with the manufacturer's instructions. 

• Do not install near any heat sources such as radiators, heat registers, stoves or other apparatus (including amplifiers) 
that produce heat. 

• Ensure that this apparatus is positioned on a secure level surface. 

• Ensure that no strain is placed on the cables connecting to this apparatus. Ensure also that such cables are not placed 
where they can be stepped on, pinched, pulled or tripped over in any way. 

• Refer all servicing to qualified personnel. Servicing is required when the apparatus has been damaged in any way, such 
as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus 
has been exposed to rain or moisture, does not operate normally or has been dropped. 

• Adjustments or alterations to this apparatus may affect the performance such that safety and/or international compliance 
standards may no longer be met. 

• This apparatus is equipped with a headphone socket - excessive sound pressure from earphones and headphones can 
cause hearing loss. 

• This apparatus is designed for use solely by engineers and competent operators skilled in the use of professional audio 
equipment. 

Caution 



A 

A 
A 



The AWS console is too heavy for one person to lift. If covers or panels are removed for any reason, sharp 
edges may be present on exposed metalwork. 

To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture. 

To reduce the risk of electric shock, do not perform any servicing unless you are qualified to do so. 



AWS 924-948 Owner's Manual Page III 



Introduction 



Power Safety 

• This apparatus includes a universal power supply; approved and certified for operation in this apparatus. 

• An external disconnect device is required for this apparatus. The appliance coupler is a suitable disconnect device. 

• The appliance coupler shall remain readily operable. 

• Use only the Solid State Logic provided power cords. Use of any other power cord is not covered by your warranty 
and may cause fire or explosion. 

• The power cord must be earthed and precautions should be made so that the grounding is not defeated. 

• Do not defeat the safety purpose of the polarised or grounding-type plugs fitted to the power cords. A polarised plug 
has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The 
wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an 
electrician for replacement of the obsolete outlet. 

• To ensure safe operation of this apparatus, connect only to an ac. power source that contains a protective earthing (PE) 
conductor. This apparatus is designed for connection to single phase supplies with the neutral conductor at earth 
potential - category TN or TT - and is fitted with a protective fuse in the live conductor only. This apparatus is not 
designed for use with live and neutral connections reversed or where the neutral conductor is not at earth potential 
(IT supplies). This apparatus should not be connected to a power system that switches open the return (neutral) lead 
when the return lead also functions as the protective earth (PE). 

• An external over-current protection device is required to protect the wiring to this apparatus which must be installed 
according to current wiring regulations. In certain countries this function is supplied by use of a fused plug. In other cases 
a fused spur or circuit breaker should be used according to local practice. 

The current requirement for this apparatus can be found in Appendix A of this manual. 

If an extension power cable or adaptor is used, ensure that the total power rating of the power cable and/or adaptor is 
not exceeded. 

Unplug this apparatus during an electrical storm or when unused for long periods of time. 

Do not operate this apparatus whilst it is covered or boxed in any way. 

To reduce the risk of electric shock, do not perform any servicing unless you are qualified to do so. 

Disconnect the power cord before removing any panels. The power switch alone does not provide adequate isolation 
for service access. 

Do not permit anyone to remove panels or covers from this apparatus, other than qualified service personnel. 

Do not permit anyone other than qualified service personnel to operate this apparatus unless all panels and covers are 
in place. 



Page IV AWS 924-948 Owner's Manual 



Introduction 



Caution 

/'f\ When installing or servicing any item of SSL equipment with power applied, when cover panels are removed: 

HAZARDOUS CONDITIONS CAN EXIST! 

These hazards include: • High energy stored in capacitors 

• High currents available from DC power busses 

• Hot component surfaces 

• High voltages 

To reduce the risk of fire, replace internal fuses only with identical type and rating. 



A 



FCC Notice 

This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the 
FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment 
is used in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not 
installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. 
Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be 
required to correct the interference at his own expense. 

Disposal of WEEE by Users in the European Union 

The symbol shown here is on the product or on its packaging, which indicates that this product must not be 
disposed of with other waste. Instead, it is the user's responsibility to dispose of their waste equipment by handing 
it over to a designated collection point for recycling of waste electrical and electronic equipment. The separate 
collection and recycling of your waste equipment at the time of disposal will help to conserve natural resources 
and ensure that it is recycled in a manner that protects human health and the environment. For more information 

about where you can drop off your waste equipment for recycling, please contact your local city office, your household waste 

disposal service or where you purchased the product. 

Standards Conformance 




C€ 



This apparatus fully conforms with the current protection requirements of the European community council 
directives on EMC and LVD. 



AWS 924-948 Owner's Manual Page V 



Introduction 



This page is intentionally almost blank 



Page VI AWS 924-948 Owner's Manual 



Introduction 



Manual Index 



switch 


3-6 


OdB Function key 


3-15 


1 / 2 switches 


3-6 


lOdb Function key 


3-27 


48V switch 


3-6 


80Hz Function Key 


3-18 


85dB Function Key 


3-20 


A 




A-FADA Analogue Automation 


4-5 


A2B Function Key 


3-18 


About tab (Remote) 


5-15 


AC Function Key 


3-19 


AFL Function Key 


3-20 


Air Conditioning 


l-l 


AL Function Key 


3-19 


ALF Function Key 


3-19 


ALL Function key 


3-3,3-15 


ALS Function Key 


3-19 


ALT Function Key 


3-20 


ALT/EFX SEL 


3-9,3-10 


Anl Function key 


3-27 


AR Function Key 


3-19 


ARS Function Key 


3-19 


Attaching the legs 


1-3 


Audio Connections 


1-5 


Auto Scan (TR) 


6-5 


AUTO-M 


3-4 


Automation (HUI) 


4-29 


Automation (console) 


7-1 


AutoTakeover (Automation) 


7-14 


AWS Remote 


5-1 


B 




balance 


3-11 


BASS Function Key 


3-18 


Bass Management 


3-18 


BMA Function Key 


3-18 


BMB Function Key 


3-18 


BMN Function Key 


3-18 


bus inject 


3-23 



C 




Cable Ducting 


l-l 


CAL Function Key 


3-19 


Centre Section 


3-15 


Chan (TR) 


6-5 


Channel Banking 


4-7 


Channel Display 


3-12 


Channel Fader (HUI) 


4-11 


Channel Modes (948) 


2b-3, 3-3 


channel output 


3-10 


Channel Selection 


3-12 


Channels tab (Remote) 


5-11 


Chinagraph 


3-12 


CHOP EFX 


3-4, 3-9 


CHOP PRE/EFX 


3-9,3-10 


CmFb (TR) 


6-5 


Communications 


3-25 


Compressor 3-6, 


3-21,3-22 


Connectors 


A-3 


Console Setup Menu 


3-28 


CS (Automation) 


7-14 


Cubase 


4-36 


CUEA/B 


3-9 


CUE F-CH 


3-4,3-11 


CUE ST pan pot 


3-4,3-11 


Cue 


3-9, 3-23 


CUT (channel) 


3-12 


CUT (monitoring) 


3-16 


CUT (DAW) 


4-12 


D 




D-Type 


A-3, A-5 


DAW Connection 


1-7 


DAW Controller 


4-1 


Daw Function key 


3-27 


DAW Layers 


4-3 


DAWI / 2 Function keys 


4-3 


DF 1 / 2 (A-FADA) Function keys 


4-5 


Digital Displays 


4-13 


Digital Performer 


4-42 


DIM switch 


3-16 


DIN 5-Pin 


A-3 


Direct Output 


3-10 


DIRECT PRE/EFX 


3-9,3-10 


Downloads 


5-15 


DOWN MIX 


3-16 


Dynamics 


3-6, 3-22 


DynB (TR) 


6-5 



AWS 924-948 Owner's Manual 



Page VII 



Introduction 




E 




EFX 


3-9,3-10 


EFXC Function key 


3-9,3-15 


EQ IN switch 


3-7 


Equalizer 


3-7 


Ethernet 


1-8 


Execute (Automation) 


7-7 


EXT A / B 


3-17 


EXT T/B button 


3-25 


External Source Selectors 


3-17 


External sources 


5-13 


Externals tab (Remote) 


5-13 


F 




Fader Links 


7-16 


fader 


3-13,3-21 


FAQ's 


5-15 


faults 


A-13 


Filter 


3-7 


FLIP switch 


3-6 


Focus Modes 


3-1,4-2 


Foldback 


3-24 


FSM 


7-10,7-12 


Function Keys 


3-15 


FX busses 


3-9, 3-23 


FX Returns 


3-24 


G 




G-EQ switch 


3-7 


Grounding 


l-l 


H 




headphones 


3-24 


HLD Function key 


3-27 


HPF pot 


3-7 


HUI 


4-9 


1 




Input configuration 


3-6 


INS Function Key 


3-17 


insert (channel) 


3-8 


INST switch 


3-6 


Installation 


l-l 


IP address 


1-19 


IP switch 


3-6 


ipMIDI 


1-7 


ISO Function Key 


3-20 



J 

Join (Automation) 



7-8 



L 




layers (DAW) 


4-3 


LFO Function Key 


3-18 


LFG Function Key 


3-19 


LINE pot 


3-6 


LNSL Function key 


3-15 


Logic 


4-34 


Logic Handshaking 


4-3 


L0 switch 


3-6 


LRA Function Key 


3-17 


LS SELECT buttons 


3-16 


M 




Maintenance 


Ai 


Master Control Panel (DAW) 


4-8, 4-33 


Master Fader 


3-21 


MCU 


4-32 


Metering (Centre Section) 


3-27 


meters (channel) 


3-6 


METERS Function keys 


3-27 


MIC pot 


3-6 


MIDI SysEx 


5-1,7-20 


MIDI 


1-7, l-20,A-9 


MISC Function key 


4-3,4-5,7-15 


MISC LEVELS switches 


3-16 


Mix bus 


3-11,3-21 


Mix Enabled (Automation) 


7-4 


Mixes tab (Remote) 


5-7, 7-5 


Modifier Buttons (HUI) 


4-10 


Moff (Automation) 


7-13 


MOM Function Key 


3-20 


MON SRC buttons 


3-16 


Monitor Calibration 


3-19 


MONITOR LEVEL pot 


3-16 


MONITOR MUTE/SOLO buttons 


3-16 


Monitor Options Function Keys 


3-17 


Monitoring 


3-16 


Motion Control Panel 


4-17 


N 




Navigation Mode (HUI) 


4-20 


network 


1-8 


Nuendo 


4-37 


o 




OP switch 


3-6 


OSCON 


3-19,3-26 


Oscillator 


3-26 



Page VIII 



AWS 924-948 Owner's Manual 



p 




PAD switch 


3-6 


PAN switch 


3-10 


pan 


3-11 


Patch bay 


1-5 


PFL Function Key 


3-20 


PFM Function Key 


3-17 


phantom power 


3-6 


PHONES buttons 


3-16 


PINK ON button 


3-19,3-26 


PK Function key 


3-27 


Plug-In Editor (HUI) 


4-21 


POST switch 


3-9 


Power Supply Indicators 


3-15 


PRE switch 


3-10 


Pre-lnstallation Requirements 


l-l 


Projects 


5-1,5-5 


Protection (Automation) 


7-10 


R 




REC/MIX LED 


3-9 


Record bus 


3-11,3-21 


RED LIGHT 


3-25 


Registration 


5-15 


Remote Browser 


5-1 


Remote 


1-7 


Removing the trim 


1-3 


RETURN switch 


3-3 


Revise (Automation) 


7-8 


R0 switch 


3-6 


s 




S-CUE 


3-4 


Scan (TR) 


6-5 


screen 


3-2 


Scribble Strip 


3-12,4-13 


SEL button 


3-12,4-14 


Service & Warranty 


A-ll 


SET Function key 


3-3,3-15 


setup menu 


3-28 


Shuttle/Scrub Wheel 


4-20 


SIF Function Key 


3-20 


Signal Processing Order 


3-8 


SLATE button 


3-25 


SLNK Function key 


7-19 


Snap (Automation) 


7-15 


Snap Function Key 


4-5 


SOLO (monitoring) 


3-16 


SOLO CLEAR button 


3-16 


SOLO Configuration 


3-20 


Solo switch 


3-12,4-13 


Sonar 


4-39 





Introduction 


Specifications 


A-l,A-7 


SRA Function Key 


3-17 


ST Function key 


3-3,3-15 


stereo cue 


3-9, 3-23 


stereo FX Returns 


3-24 


StRt (TR) 


6-5 


Studio Integration 


1-5 


SUM Function Key 


3-17 


Support 


5-15 


SysEx 


5-1,7-20 


T 




talkback 


3-25 


TBALL 


3-25 


TB to Foldback pot 


3-25 


TFT screen 


3-2 


Thermal Considerations 


l-l 


Titles 


5-1 


TLock (Automation) 


7-13 


Total Recall 


6-1 


Total Recall tab (Remote) 


5-9,6-11 


TR (Total Recall) 


5-9,6-1 


track busses 


3-10,3-23 


Trim (Automation) 


7-12 


TRK Function key 


3-3,3-15 


Troubleshooting 


A-13 


Two DAW Layers 


4-3 


u 




Unpacking The Console 


1-3 


Utility Buttons (HUI) 


4-9 


V 




V-Pots 


3-13,4-8,4-13,4-15 


VU Function key 


3-27 


w 




Warranty 


A-ll 


width (pan) 


3-11 


Window Buttons (HUI) 


4-9 



Zoom Mode (HUI) 



4-19 



AWS 924-948 Owner's Manual 



Page IX 



Introduction 



This page is intentionally almost blank 



Page X AWS 924-948 Owner's Manual 



Introduction 



MANUAL CONTENTS 



Important Information III 

Graphic Symbols III 

General Safety III 

Caution III 

Power Safety IV 

Caution V 

FCC Notice V 

Disposal of WEEE by Users in the European Union V 

Standards Conformance V 

Manual Index VII 

Manual Contents XI 

Reading this Manual XIX 

Introduction to the sections XIX 

Manual Conventions XIX 

Contacting Solid State Logic XIX 

Introduction to the AWS XIX 

Key Features XX 

AWS 924 XX 

AWS 948 XX 

Section I: Installation 

Section Contents I -iii 

Pre- Installation Requirements I - 1 

Console Control Surface l-l 

Power Connections I - 1 

Service Access l-l 

Thermal Considerations I - 1 

Air Conditioning l-l 

Cable Ducting l-l 

Grounding l-l 

Unpacking The Console 1-3 

Attaching the legs I -3 

Removing the trim I -3 

Front Buffer 1-3 

End Trim 1-3 

Top Trim 1-3 



AWS 924-948 Owner's Manual Page XI 



Introduction 



Studio Integration 

Audio Connections 
Connecting a Patchbay 

AWS 924 Patchbay layout Example: 
Patchbay Guidelines 

Instrument Inputs (AWS 924 Only) 

Mic Inputs 

AWS948 Patchbay layout Example: 



1-5 

1-5 
1-5 
IS 
1-6 
1-6 
1-6 
1-6 



DAW Connection 

Overview 

Installing the ipMIDI driver and AWS Remote 

Software Installation (Macintosh) 

Software Installation (PC) 
Make and configure the network connection 
Direct Network Connection (Macintosh) 
Direct Network connection (PC) 
Enabling ipMIDI on your AWS 

Finding the console on the AWS Remote application: 
Setting your workstation(s) to communicate via ipMIDI 
Pro Tools 8 
Logic Pro 9 

Preferences/Control Surfaces Setup menu: 
Network trouble shooting: 
Larger networks: 
Assigning the AWS IP Address: 

Using DHCP 

Changing the static IP address 
Using Physical MIDI Ports to Connect your DAW 



1-7 

1-7 

1-7 

1-7 

1-8 

1-8 

1-8 

II 

12 

1-12 

13 

14 

15 

1-16 

17 

18 

19 

1-19 

1-19 

1-20 



Section 2a: AWS 924 Tutorial 

Studio Configurations 

Smaller systems 

Larger Systems 
Focus Modes 



2a- 1 
2a- 1 
2a- 1 
2a-2 



Channel Strip 

Input configuration 
Signal Processing 

Dynamics 

Filter and EQ 

Insert Point 
Routing 

Cue, FX and EFX Sends 

Bus Routing 
Panning, Width and Balance 
Level, cuts and solos 



2a-3 

2a-3 
2a-3 
2a-3 
2a-3 
2a-3 
2a-3 
2a-3 
2a-3 
2a-4 
2a-4 



Page XII 



AWS 924-948 Owner's Manual 



Introduction 



Centre Section 

Adjusting the Mix and Record busses 

Creating a Monitor Mix 

Creating Foldback Mixes 

Using the FX Returns 

Using Talkback 

'In-line' Recording 



2a-5 

2a-5 
2a-5 
2a-5 
2a-5 
2a-5 
2a-5 



Section 2b: AWS 948 Tutorial 



Focus Modes 



2b- 1 



Channel Modes 

Basic Tracking Configuration 

Mono Configuration 

Stereo Configuration 
Analogue-style In-Line Tracking Configuration 

Band Tracking Mode 

Overdub i 'Playback Tracking Mode 
Mixing Configurations 

Basic Stereo Mixdown 

Additional Send Mixing 

Additional Return Mixing 
Mode Selection 



2b-3 

2b-4 
2b-4 
2b-4 
2b-5 
2b-5 
2b-5 
2b-6 
2b-6 
2b-6 
2b-7 
2b-8 



Channel Strip 

Input configuration 
Signal Processing 

Dynamics 

Filter and EQ 

Inserts 
Routing 

Cue and FX Sends 

Bus Routing 
Panning, Width and Balance 
Channel level, cut and solo 



2b-9 

2b-9 

2b-9 

2b-9 

2b-9 

2b-9 

2b-9 

2b-9 

2b- 10 

2b- 10 

2b- 10 



Centre Section 

Adjusting the Mix and Record busses 
Creating a Monitor Mix 
Creating Foldback Mixes 
Using the FX Returns 
Using Talkback 



2b- I I 

2b- 1 
2b- 1 
2b- 1 
2b- 1 
2b- 1 



AWS 924-948 Owner's Manual 



Page XIII 



Introduction 



Section 3: Analogue Operations 



Section Contents 



3-iii 



Introduction 

Focus Modes 
The TFT Screen 



3-1 

3-1 
3-2 



Channel Modes (948 only) 

Channel Configuration (AWS 948 only) 
In-line Mix 
In-line Track 



3-3 

3-4 
3-4 
3-4 



Channel Strip 

Overview 

Input configuration 

Channel Meters 

Dynamics 

Filter 

Equalizer 

Insert Point 

Signal Processing Order 

Cue, FX and EFX Sends 

Direct Output 

Direct Outputs and EFX: 
Track Bus Routing 

Track Busses and EFX: 
REC and MIX Bus Routing 
Panning, Width and Balance 
Scribble Strips 

Channel Display 

Chinagraph Scribble Strip 
Channel Selection 
Cut and Solo Switches 
Level Control 



3-5 

3-5 

3-6 

3-6 

3-6 

3-7 

3-7 

3-8 

3-8 

3-9 

3-10 

3-10 

3-10 

3-10 

3-11 

3-11 

3-12 

3-12 

3-12 

3-12 

3-12 

3-13 



Centre Section 

Introduction 

Power Supply Indicators 
Function Keys 
Monitoring 

MON MODE buttons [8] 

Monitor Configurations 

External Source Selectors 

Monitor Options 

Monitor Insert 

Bass Management 

Monitor Level Calibration 

Monitor Level Display and Calibrated listening level 
SOLO Configuration 



-15 

3-15 
3-15 
3-15 
3-16 
3-16 
3-17 
3-17 
3-17 
3-18 
3-18 
3-19 
3-20 
3-20 



Page XIV 



AWS 924-948 Owner's Manual 



Introduction 



Mix and Rec Bus Controls 3-21 

Adjusting a master level 3-2 1 

Assigning Centre Section Dynamics 3-2 1 

Assigning the Stereo Compressor 3-2 1 

Activating bus inserts 3-2 1 

Dynamics Operation 3-22 

Compressor I Limiter Section 3-22 

Gate/ Expander Section 3-22 

Track Bus Master Controls 3-23 

Cue/FX Send Master Controls 3-23 

Cue and FX bus injection 3-23 

Foldback Headphone Outputs 3-24 

Stereo FX Returns 3-24 

Communications 3-25 

Communications Setup Options 3-26 

Oscillator 3-26 

Centre Section Metering 3-27 

Console Setup Menu 3-28 

Automation 3-28 

Talkback 3-29 

Monitor section 3-29 

Desk Setup 3-29 

DAW setup 3-30 

Desk settings 3-30 



Section 4: DAW Control 



Section Contents 4-iii 

Introduction 4-1 

A-FADA 4-1 

DAW Controller Features Summary 4-1 

Focus Modes 4-2 

Configuring DAW Layers 4-3 

DAW Layers 4-3 

Communication with your DAW 4-4 

Logic Handshaking 4-4 

A-FADA Analogue Automation 4-5 

Snap 4-5 

Setup Guidelines 4-6 

HUI and MCU common Features 4-7 

V-Pots 4-7 

The Master Control Panel 4-8 

Channel Banking Controls 4-8 

Pro Tools HUI Control Guide 4-9 

DAW Window Buttons 4-9 

DAW Utility Buttons 4-9 

Modifier Buttons 4-9 



AWS 924-948 Owner's Manual Page XV 



Introduction 



The Default Button 

Resetting Pans 

Resetting Faders 

Resetting Sends 

Resetting Plug-ins 
Channel Functions 
DAW Meters 

Status Indicators 

Multi-channel Metering (TDM Systems Only) 

Channel Fader 

Fader Grouping 
Channel Solo and Cut Tile 

Solo Isolate 
Channel SEL Button - Track Arming/Edit/Select 
Record Ready Mode 

Record Safe 
Working with the Channel V-pots 

Setting Sends Pre/Post Fader 

Muting a Send Output 

Flipping Send Levels to the Faders 
Input, Output and Send Routing 

Viewing Input, Output and Send Routing 

Setting Input, Output and Send Routing 

Assigning Signals to Multiple Channels 

Assigning a Channel to Multiple Outputs 
Motion Control Panel 

Transport Controls 

Other useful transport modes 

AWS Footswitch Control 
Zoom, Navigation and Selection Modes 

Navigation Mode (Neither Zoom nor Select lit) 

Zoom Mode (Both Zoom and Select lit) 

Select Mode (Both Zoom and Select Flashing) 

Scrolling Within a Window 

Shuttle/Scrub Wheel 
Numeric Keypad 

Working with Markers/Memory Locations 



4-10 
4-10 
4-10 
4-10 
4-10 
4-11 
4-11 
4-11 
4-11 
4-11 
4-11 
4-12 
4-12 
4-13 
4-13 
4-13 
4-14 
4-15 
4-15 
4-15 
4-16 
4-16 
4-16 
4-16 
4-16 
4-17 
4-17 
4-17 
4-18 
4-19 
4-19 
4-19 
4-19 
4-19 
4-20 
4-20 
4-20 



HUI Plug-in Control 

Plug-In Editor 

Plug-In Editor Display 

Plug-In Editor Controls 

Paging Buttons 

Selecting DAW Channels to Edit 
Plug-In Display Modes 

Viewing Current Inserts (Insert Mode) 

Assigning a Plug-In or Hardware I/O (Insert Mode) 
Editing Plug-In Parameters (Parameter Mode) 

Selecting a Plug-In to Edit 

Changing Plug-in Parameters 

Hi-Resolution Parameter Display Mode 

Comparing Your Changes 

Bypassing Plug-ins 

V-pot Sensitivity 



4-21 

4-21 
4-21 
4-21 
4-21 
4-21 
4-22 
4-22 
4-22 
4-23 
4-23 
4-23 
4-23 
4-23 
4-23 
4-23 



Page XVI 



AWS 924-948 Owner's Manual 



Introduction 



Additional HUI Displays 4-25 

Timecode/Bars & Beats/Samples Display 4-25 

DAW Status Display 4-25 

Soft Key Display 4-25 

/. Automation Enables 4-25 

2. Automation Modes 4-25 

3. Edit Tools Menu 4-26 

4. Edit Modes Menu 4-26 

5. Status/Group Menu 4-26 

6. Function Keys 4-21 

7. EDIT Menu 4-27 

8. SSL Menu 4-27 

HUI Automation 4-29 

Automation Enables 4-29 

Automation Modes 4-29 

Automation Status Display 4-29 

Suspending Automation 4-30 

Writing Automation (Write to Start, End or All) 4-30 

Automating Switches (eg. Cuts) 4-30 

Automating Pans and Sends 4-30 

Automating Plug-Ins 4-30 

Automation Indication for Plug-In Parameters 4-30 

MCU (Mackie Control) Emulation 4-3 1 

Mackie Control Emulation Advantages 4-3 I 

Implementation 4-3 1 

DAW Control Function Key Overview 4-33 

The Logic Template 4-34 

Logic Console Layout 4-34 

Transport Function Key Layout 4-35 

Logic Control screen 4-35 

Nuendo/Cubase Template 4-36 

Nuendo Console Layout 4-37 

Nuendo Control screen 4-38 

The Sonar Template 4-39 

Sonar Console Layout 4-40 

Sonar Control screen 4-4 1 

Digital Performer Template 4-42 

Digital Performer Console Layout 4-42 

Digital Performer Control screen 4-43 

Section 5; Projects and the Remote Browser 

Section Contents 5-iii 

Introduction 5-1 

Working with Projects and Titles 5-1 

AWS Remote 5- 1 

MIDI SysEx data 5-1 

Connecting the Remote to the Console 5-3 



AWS 924-948 Owner's Manual Page XVII 



Introduction 



The Projects Tab 

Copying Titles, Total Recall and Mix data between Projects 
Renaming Projects, Titles, Mixes or Total Recall Setups 
Backing up a Project 
Restoring a Project 

The Mixes Tab 
The Total Recall Tab 
The Channels Tab 
The Externals Tab 
The About Tab 

Section 6: Total Recall 



5-5 

5-6 
5-6 
5-6 
5-6 

5-7 

5-9 

5-11 

5-13 

5-15 



Section Contents 

Overview 

Accessing Total Recall 

Selecting TR Setups 

Changing the selected setup 

Matching the Console to the TR 

Display Overview 

Correcting controls 

Auto Scan 
The Channel Display 

Setting soft switches 

Copying and Swapping settings between channels 
Centre section displays 

Compressor and Foldback 

Dynamics and Bus Masters 

Stereo Returns 

Additional TR Functions 

Storing setups 

Deleting Setups 

Restoring Legacy MIDI Setups from a Mac or PC 

Total Recall via Logictivity 



6-m 

6-1 
6-1 

6-3 

6-3 

6-5 

6-5 
6-5 
6-5 
6-6 
6-6 
6-6 
6-7 
6-7 
6-7 
6-7 

6-9 

6-9 
6-9 
6-9 

6-11 



Page XVIII 



AWS 924-948 Owner's Manual 



Introduction 



Section 7: Automation 



Section Contents 

Overview 

Key features 

Quick Guides 
A-FADA Analogue Automation 

Working with Projects and Titles 
Automation Management via the Remote 
Operation 

Activating the Automation System 
List Mix Menu 

Changing the selected Mix Pass 

Deleting Mix Passes 
Creating A New Mix Pass 

Join and Revise 

Discard 

Updating a Mix Pass 

Cut Automation 

Selecting Protection 

Summary of fader status and FSM functions: 

Automation Options 

Trim 

TLock 

Motors Off 

Snap Mode 

AutoTakeover 

Copy and Swap 

Deleting Mix Passes from the Console 

Automation Setup Options 
Fader Links 

Viewing Links 
Suspending Links 
Deleting Links 

Pro Tools Setup Notes 
MIDI SysEx Save and Load 

Saving Automation Mix Passes: 
Loading Legacy Mix Passes: 



7-iii 

7-1 

7-1 
7-1 
7-1 

7-2 
7-3 
7-4 

7-4 
7-4 

7-4 
7-4 
7-5 

7-8 

7-8 
7-8 
7-9 

7-10 

7-11 

7-12 

7-12 
7-13 
7-13 
7-14 
7-14 
7-14 
7-14 

7-15 
7-16 

7-16 
7-16 
7-16 

7-17 
7-20 

7-20 
7-20 



AWS 924-948 Owner's Manual 



Page XIX 



Introduction 



Appendices 

Section Contents Aiii 

A: Specifications A- 1 

l/4"TRSJack A-3 

DIN 5-Pin 180° A-3 

XLR 3-Pin A-3 

B: Connector Details A-3 

C: Connector Pinouts A-5 

Connector Pinouts . . . continued A-6 

D: Environmental Specification A-7 

E: MIDI Implementation Chart A-9 

F: Service & Warranty Information A- 1 I 

Introduction A- 1 I 

Warranty A- 1 1 

Out of Warranty Repairs A- 1 1 

Website Support A- 1 1 

Out-of-hours Support A- 1 1 

G: Troubleshooting A- 1 3 

Introduction A- 1 3 

Locating Problems A- 1 3 

Audio Faults A- 1 3 

Control Faults A- 1 4 

Replacing Modules A- 1 5 

The Channel Strip (62992 1X1/ 629994X I ) A- 1 6 

The Channel Fader (629924X I ) A- 1 7 

The Channel Meter Panel (629923X I / X2) A- 1 8 

Centre Section Cards A- 1 9 

Troubleshooting Chart - Channel bays A-20 

Troubleshooting Chart - Centre section A-20 

H: Glossary Of Terms A-23 

I: Link Options A-25 

J: Block Diagrams A-26 



Page XX AWS 924-948 Owner's Manual 



Introduction 



Reading this Manual 

Introduction to the sections 

Following this section, there is a section describing the console's installation. The rest of the manual presumes that installation 
has been completed. Two tutorials follow next - one for the AWS 924 and one for the AWS 948. There are then detailed 
descriptions of the analogue operations (Section 3), DAW operations (Section 4), projects and the Remote (Section5), 
Total Recall (Section 6) and the automation system (Section 7). 

Manual Conventions 

Where the AWS 924 and 948 descriptions differ, the 924 is pictured and described on the left, and the 948 on the right. 



AWS 9« 

Model-specific descriptions are boxed by a thin blue line. 



Labelling from the control surface, TFT screen or Remote Browser appear in Bold. 
Notes and tips are indicated like this. 

Contacting Solid State Logic 

If you cannot find the information you need on the pages of this manual, please see the AWS support pages at 
http://www.solidstatelogic.com 



Introduction to the AWS 

Launched in 2004, the AWS (Analogue Workstation System) reinvented the professional production console by combining 
classic SSL Superanalogue™ console technology with comprehensive DAW control hardware in a single work surface. 
Over 550 consoles later the AWS is now used by leading international recording artists, producers and engineers and has 
shaped expectations for session workflow within today's and indeed tomorrow's production environments. 

Designed for mid scale commercial recording and production facilities, the AWS is available in 24 input (AWS 924) or 48 
input (AWS 948) variants within a compact 24 fader frame. Both models deliver pristine SuperAnalogue™ mixing, 24 ultra- 
clean SSL SuperAnalogue mic pre's, classic SSL dual curve EQ on every channel, two assignable SSL Dynamics, legendary 
Stereo Buss Compressor, TotalRecall™ and full 5.1 monitoring. In addition to on board classic SSL Automation, both models 
also feature the revolutionary new A-FADA mode where motorised analogue faders follow DAW Automation data. 

AWS 924 & 948 also feature Ethernet connectivity for streamlined hardware control of your Digital Audio Workstation, 
delivering elegant, ergonomic physical control over your entire studio environment with dedicated heavy duty DAW 
transport, V-Pot multifunction encoders with position indicating LED's, Digital Scribble Strips, DAW fader mode, global 
and channel routing control and built-in TFT display for advanced plug-in editing. Project Session Management is kept simple 
through SSL's proprietary Logictivity interface. 

The AWS is an SSL SuperAnalogue™ console, featuring the audio performance specifications that have established the 
benchmarks by which other manufacturers are measured. Exceptionally low THD, noise floor & crosstalk levels keep your 
audio absolutely pristine, while our legendary headroom carries every nuance of your audio and allows engineers to mix 
'hotter' without distortion. 

While the AWS offers a powerful large format analogue console feature set within a compact console design, it also goes 
further than any other analogue console by integrating seamlessly into a DAW-based facility by incorporating hands-on 
control of important recording, routing, mixing, and editing functions in all major DAW applications including Pro Tools™, 
Logic Audio™, Nuendo™, Sonar™ and many others. 



AWS 924-948 Owner's Manual Page XXI 



Introduction 



Key Features 

Combination of Superanalogue™ console and advanced DAW controller 

SSL SuperAnalogue™ mix bus provides pristine audio foundations 

SSL SuperAnalogue™ mic pre's provide transparent record path 

Innovative Dual Path Channel with three versatile operating modes (948 only) 

48 inputs on AWS 948; 

o IN-LINE TRACKING = I mic + I pre-monitor input per channel 

o IN-LINE MIX = 2 x mono line inputs per channel 

o STEREO MIX = I x stereo line input per channel 

Comprehensive metering of all inputs and outputs 

VU and Phase meter with source selector 

A-FADA Mode where motorised analogue faders follow DAW automation 

Versatile 4 band channel EQ, assignable Dynamics and SSL Master Bus Compressor 

4-Band EQ design with independent E/G curve switching on selected bands 

5.1 Surround monitoring and Monitor calibration including Bass management 

MIDI over Ethernet multi layer DAW workstation control 

Contigious Digital Scribble Strips for console and DAW data 

Elegant project setup via SSL Logictivity Remote Browser and SD card storage 

SSL's unique trademarked Total Recall™ system with TR Autoscan' 

Responsible 'green' manufacturing and reduced power consumption 

Compact 24 fader frame ideal for small control rooms 

AWS 924 

The AWS 924 continues the classic design of the AWS 900. 

AWS 948 

The AWS 948 maintains the same 24 fader footprint as the AWS 924 (and classic AWS 900) and achieves its 48 input count 
via a unique Dual Path Channel Strip design where each channel has a single Mic Amp and two line level inputs, a new 
Stereo EQ and Stereo Insert. This new channel enables three different operating modes: STEREO MIX, IN LINE MIX and 
IN LINE TRACKING. These differing modes offer a wealth of workflow options that enhance today's versatile production 
environments. 



Page XXII AWS 924-948 Owner's Manual 



Solid State Logic 

SOUND VISION 



AWS 924-948 
Owner's Manual 



SECTION I 

Installation 



AWS Installation 



This page is intentionally almost blank 



Page I -II AWS 924-948 Owner's Manual 



AWS Installation 



Section Contents 



Section Contents 



l-iii 



Pre- Installation Requirements 

Console Control Surface 

Power Connections 

Service Access 

Thermal Considerations 
Air Conditioning 
Cable Ducting 
Grounding 

Unpacking the Console 
Attaching the Legs 
Removing the Trim 

Front Buffer 

End Trim 

Top Trim 



-I 

l-l 
/-/ 
/-/ 
/-/ 
l-l 
l-l 
l-l 
1-3 
1-3 
1-3 
1-3 
1-3 
1-3 



Studio Integration 

Audio Connections 
Connecting a Patchbay 

AWS 924 Patchbay Layout Example: 
Patchbay Guidelines 

Instrument Inputs (AWS 924 Only) 

Mic Inputs 

AWS948 Patchbay layout Example: 



-5 

1-5 
1-5 
1-5 
1-6 
1-6 
1-6 
1-6 



DAW Connection 

Overview 

Installing the ipMIDI driver and AWS Remote 

Software Installation (Macintosh) 

Software Installation (PC) 
Make and Configure the Network Connection 
Direct Network Connection (Macintosh) 
Direct Network Connection (PC) 
Enabling ipMIDI on your AWS 

Finding the Console on the AWS Remote Application 
Setting Your Workstation(s) to Communicate via ipMIDI 
Pro Tools 8 
Logic Pro 9 

Preferences/Control Surfaces Setup Menu 
Network Troubleshooting 
Larger Networks 
Assigning the AWS IP Address 

Using DHCP 

Changing the Static IP Address 
Using Physical MIDI Ports to Connect your DAW 



i 



7 

1-7 

1-7 

1-7 

1-8 

1-8 

1-8 

l-ll 

1-12 

1-12 

1-13 

1-14 

1-15 

1-16 

1-17 

1-18 

1-19 

1-19 

1-19 

1-20 



AWS 924-948 Owner's Manual 



Page l-iii 



AWS Installation 



This page is intentionally almost blank 



Page I -iv AWS 924-948 Owner's Manual 



Pre Installation 



INSTALLATION 



Pre- Installation Requirements 

Console Control Surface 

The AWS console is a self contained system; there are no remote power supplies or I/O racks. The frame is not fitted with 
cooling fans. 



|T| See the appendices for the console footprint diagram. 



Power Connections 

The console is fitted with auto-sensing power supplies which will function at any voltage from 1 00 to 230 volts ± 1 0% without 
adjustment. 

Three IEC mains power-leads are supplied: one with a UK 3-pin fused plug fitted, one with US-style 3-pin mains plug fitted 
and one with a european 3-pin plug. Please select the appropriate lead for the local power outlets. 

Service Access 

Access to all electronic assemblies within the frame is from the front of the console. Note however, that each of the 
console's modules is retained by a screw through its rear panel. It is necessary therefore, to have access to the rear of the 
console. 

Thermal Considerations 

The console is cooled by convection from the front inlet (in the knee panels) to the exit at the top of the rear panels. It is 
very important that these ventilation grills are not obstructed in any way. 

/l\ The heatsink fins on the console rear panels can reach temperatures of approximately 30 degrees Celsius above the 
ambient room temperature. 

Air Conditioning 

It is unlikely that additional air conditioning will be required after installing the AWS (typical dissipation of 450W for the 
AWS 924 and 600W for the AWS 948). It is possible however, that when all the studio equipment is taken into 
consideration, particularly if additional lighting is being installed, the combined heat output could be sufficient to cause the 
temperature to rise to uncomfortable levels. The appendix section contains environmental specifications for SSL equipment. 

Cable Ducting 

Cable ducting may be required between the console and any outboard racks and the recording areas. If a full remote 
patchbay is being provided then the ducting will need to be large enough for sufficient 24-circuit multicore cables to be 
accommodated - 1 2 for the AWS 924 and 1 5 for the AWS 948. 

Grounding 

A standard system should not require any additional grounding over and above that provided by a correctly installed mains 
supply. The console's chassis is permanently bonded to mains earth. 



/f\ The mains input ground wire MUST be connected to the supply earth. 



AWS 924-948 Owner's Manual Page I -I 



Pre Installation 




Page 1-2 



AWS 924-948 Owner's Manual 



Pre Installation 



Unpacking the Console 

The AWS consoles are supplied in a wooden crate without the legs fitted. The legs, manuals and anciliaries are located in 
a tray at the base of the crate. 

/!\ The weight of the console is approximately 1 00kg. It is recommended that at least four people are available before 
attempting to manoeuvre the console. 

Using a large screwdriver or pry-bar carefully open the crate containing the console. The crate is not designed to be reusable 
so does not have to be removed intact. Once the top and sides of the crate have been removed there will be sufficient space 
for four people to lift the console clear from the base. 

/!\ The console is shipped with its trim already fitted, avoid using any of the trim as a lifting point. Do not lift the front of the 
console by using the buffer alone. 

Attaching the Legs 

Again, it is recommended that four people are available to perform this operation. 

The bolts required to attach the legs can be found in the anciliaries bag in the base of the transit crate. A 6mm hex-key is 
provided to secure the leg bolts. 

• The console should first be rolled onto its back. Ensure that ample padding is provided - such as blankets or bubble- 
wrap - to support the rear panels (the PSU heatsink fins protrude from the rear of the console, and care must be 
taken not to damage them). 

• Position the legs on the console beam and attach the M 1 bolts using the 6mm hex-key supplied. There are four bolts 
per leg. 

• Using four people, the console may now be tipped forward onto its feet. Once the console is in position, a limited 
amount of adjustment is available to compensate for an uneven floor. Do not unscrew the feet inserts by more than 
about 15mm. 

Removing the Trim 

If it is necessary to remove the trim panels - to adjoin existing furniture - then please refer to the following information 
and the illustration shown on the facing page. 

Note that it is not necessary to remove any of the audio modules to gain access to the trim fixing screws. 

Front Buffer 

The front buffer [I] is secured by nine pan-head screws - five in the front beam and two in each end trim. These are all 
visible from beneath the buffer. 

End Trim 

Each of the end trims [2] is secured by four countersunk Posi-head screws through the profile (one is located in the knee- 
panel area, two more are found either side of the main beam and the fourth is located on the bottom corner of the outside 
profile), as well as two pan-head screws through the front buffer (visible from beneath the buffer). 

Top Trim 

The top trim [3] is clipped over the front of the meter panels and secured onto the back panels by four M3 screws. 



AWS 924-948 Owner's Manual Page 1-3 



Pre Installation 



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AWS 924-948 Owner's Manual 



Studio Integration 



Studio Integration 

Audio Connections 

All connections to the AWS - apart from the two headphone jacks - are located on the rear panels of the console. The 
headphone sockets are located on the Centre Section knee panel. 

The console rear panel is fitted with a label which identifies all the connections on the connector panel, and provides the 
pinout for each one (the detail is shown opposite). This information is also provided in the Appendices section of this 
manual. 

All connections are balanced. 

All 25-way D-type connectors use screw pillars that utilise the UNC-440 thread. 

[T]See the appendices for the pinouts of all audio connectors. 

Connecting a Patchbay 

The AWS may, of course, be fully or partially integrated to an external patchbay. 3rd party options are available, and SSL 
can provide patchbay solutions as cost options - contact your local SSL distributor for further information. 

AWS 924 Patchbay Layout Example: 



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Notes: 

1 . Patchrow AB is isolated 

2. D31 is linked to C33, 35, 37, 39 

3. D32 is linked to C34, 36, 38, 40 

4. J31 is linked to J32 

5. Links at G33-36, G37-40, J33-36, 
J37-40, K33-36, K37-40, 



Normalling Information: 

Fully normalled: AB 1-24, JK 29 

No normalling: AB 25-48, GH 33-40, JK 33-40 

All other jacks are half-normalled 



Solid State Logic 



AWS 924 Patch layout proposal 



AWS 924-948 Owner's Manual 



Page 1-5 



Studio Integration 



Patchbay Guidelines 

Instrument Inputs (AWS 924 Only) 

It is not recommended that the 'Instrument' inputs are broken out to a patchbay. These inputs are unbalanced and have a 
high input impedance so, to help avoid the pickup of noise and interference, cable lengths should be kept at short as possible. 

Line Level Input/Outputs 

All other analogue inputs and outputs can be connected via a patchbay. It is recommended that the cable shield is connected 
at the console end and disconnected at the patch row to avoid ground loops. Wiring to the installation should normally have 
the shield connected to the patch row. The shield connection of all jacks should be linked together (note that patch rows 
with solid metal front panels will automatically do this) and then linked to a common star point on the patchbay. This 
starpoint can then be returned - via a thick grounding cable (6mm sq. or greater) - to the chassis stud on the rear of the 
AWS console. This will reduce the risk of earth loops within the installation. 

The screen pins of all analogue inputs and outputs - with the exception of the microphone inputs - are connected directly to 
the chassis of the AWS924/48. 

Mic Inputs 

If Microphone inputs are to be connected via a patchbay, the type of patch-row used should be of the insulated variety 
where the jack screens are not connected to the main body of the patch-row - there are commercially available patch-rows 
that meet this requirement. The ground connection from each microphone must be linked through the patch jacks to the 
XLR on the back of the console without interruption. 

AWS948 Patchbay layout Example: 



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USER OPTION 



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Notes: 

1 . Patchrow AB is isolated 

2. K7 is linked to J9, 11, 13, 15 

3. K8 is linked to J10, 12, 14, 16 

4. L41 is linked to L42 

5. Links at J33-36, J37-40, L33-36, 
L37-40, M33-36, M37-40, 



Normalling Information: 

Fully normalled: AB 1-24, LM 29 

No normalling: AB 25-48, LK 33-40, LM 33-40 

All other jacks are half-normalled 



Solid State Logic 



AWS 948 Patch layout proposal 



Standard Configura 



Page 1-6 



AWS 924-948 Owner's Manual 



DAW Connection 



DAW Connection 

The AWS console communicates with a DAW directly via Ethernet or via three MIDI ports. To use the Ethernet option a 
third party ipMIDI software driver must be installed on the DAW computer. Registered owners can download this from 
the SSL website: www.update.solidstatelogic.com. Using these methods of communication allows the AWS to be 
used with a wide variety of DAW applications on a wide variety of platforms. The AWS uses Mackie control or a 'HUT 
compatible protocol, and so any DAW program that can be configured to use three HUI devices can access the full power 
of the AWS. 

Please refer to your DAW manual for details on how to configure the DAW application for AWS under Mackie or HUI 
control. 

Overview 

In normal operation the AWS uses an Ethernet connection for DAW control and the SSL AWS Remote for session 
management. The next section describes how to download and install the ipMIDI driver and AWS Remote on Macintosh 
and PC. 

Optionally the AWS can use a standard MIDI connection between the AWS console and your DAW using a multi port MIDI 
interface. In this mode only one DAW layer can be configured. The console communicates with the DAW via the MIDI ports 
located on the rear of the console - details are provided at the end of this section. 

Installing the ipMIDI driver and AWS Remote 

Download on to your workstation computer either the AWS923-948_Mac_Support.dmg disk image (Macintosh) or the 
AWS923-948_Win_Support.zip file (Windows). These contain the AWS Remote and ipMIDI applications and the latest 
version of the installation instructions: 

www.update.solidstatelogic.com/support/consoles/aws/downloads.asp 

System Requirements for your workstation computer: AWS Remote is a Java application. It will run under Java Version 5 
or higher. ipMIDI is compatible with Windows 2000 (maximum 9 MIDI ports), XP, Vista and Windows 7, and Macintosh 
OSX 10.4 upwards. 

Software Installation (Macintosh) 

Mount the AWS924-948_Mac_Support.dmg disk image and open it. 

AWS Remote: Double-click on the AWS Remote application to install. 

ipMIDI: Double click on the ipMIDI. pkg file to run the installation program. Note that you will be asked to log out and in 
again once you have completed the installation. Once you have logged back in open Audio MIDI Setup, select the MIDI tab 
and double click on the ipMIDI icon. Set the number of MIDI ports to 10 in the resulting pop-up. 

If you are upgrading an older copy of ipMIDI you must uninstall it before running the installer. To uninstall ipMIDI simply 
delete: </Library/Audio/MIDI Drivers/ipMIDIDriver.bundle>. You should empty the Trash after deleting the bundle file 
before running the installer. 



AWS 924-948 Owner's Manual Page 1-7 



DAW Connection 



Software Installation (PC) 

Open the AWS924-948_Win_Support.zip archive. 

AWS Remote: Double click on AWS924-948Remote.exe to install the program. 

ipMIDI: Run the setupipmidi_L8.exe application (note that the last part of the name may change depending on the version 
you are installing) by double clicking on it. Note that you will have to restart the computer at the end of the setup process. 
Once the computer has restarted right click on the ipMIDI icon in the task bar and set the number of MIDI ports to 10 in 
the resulting pop-up. 

If you are upgrading an older copy of ipMIDI you must uninstall it (using Add/Remove programs) before running the installer. 

Make and Configure the Network Connection 

The AWS Remote software is designed to communicate with your workstation over Ethernet using the ipMIDI driver to 
emulate a multiport MIDI interface. The ipMIDI driver enables your workstation to send and receive MIDI control data via 
a network connection. Using Ethernet ensures the fastest possible communication between your workstation computer and 
AWS. The standard installation uses an RJ45 crossover network cable (not supplied) to connect the console's network 
connector directly to a separate network port on your workstation computer using the console's default fixed IP address 
of 1 92. 1 68. 1 .2. Note that many computer adaptor cards will autosense a direct connection negating the need for a crossover 
cable. If you are unsure whether your workstation computer's network adapter has this functionality, please use a crossover 
rather than a pin to pin cable. 



IP Network 



Network I 
Network 2 



Network Connection 



Workstation Computer 



AWS Console 



It is possible to connect AWS to a larger network which incorporates multiple computers and to enable dynamic (DHCP) 
addressing. These configurations need special consideration. Please see the notes at the end of these instructions for details. 

Direct Network Connection (Macintosh) 

Please note that currently OS X does not allow two ports to be used for IP traffic. As such, the connection to your main 
network will not be available while the AWS is connected. 

To simplify the process of switching between networks, it is recommended that you create a new network Location for 
the AWS in network preferences. Another Location ('internet' for example) could be created to enable connection to the 
internet. This would use the network settings provided by your Internet Service Provider or network administrator. You 
can easily switch between network Locations by going to the Apple Menu and scrolling down to Location. 



Page 1-8 



AWS 924-948 Owner's Manual 



DAW Connection 



Using an RJ45 cable, make a direct network connection between the network port on your AWS to a network port 
on your workstation computer and check that the IP address is set to FIXED in the console's 
SSL> MISO NET menu. 

Open System Preferences and click on Network. Create a new location by clicking where it says Location, scroll down 
to Edit Locations and click the '+' sign. Name the new location AWS. 

Next, select the Ethernet port which is connected your AWS and configure as shown below: 



+ [> ShowAII 



^~ 



Location AWS 






V 



+ - #- 



Status 

Configure 

IP Address 

Subnet Mask 

Router 

DhS Server 

Search Domains 


Connected 

Ethernet 1 is currently active and has the IP 
address 192.1GS l.s. 


M,r..i..lly J 1 




192.16S.Li 


2S52S5.25S.D 


192.L6S.1.2 


I 


( Advanced ... J (?) 



Click the lack to prevent further changes. 






If your Macintosh features multiple network ports, you should set the priority of these so that the Ethernet port 
connected to your AWS is at the top of the list. To do this, choose Set Service Order from the Actions pop-up menu: 



1 



J * I * | I Show AH | 




Status: Connected 



Ethernet 2 is currently active and has rne IP 
address; ia2.L6fi.L3. 



Configure: Manually 



~^l 



IP Address: 192.16H.1.]! 



Subnet Maik: 2S5. 255.255.0 



Router: 142.16 A. lJ 
DNS Server: 
Search Domains: 



Duplicate Service... 
' qj c Rename Service... 

Mate Service Inactive 1 

Set Service Order... 

Import Configurations... 

Manage Virtual Interfaces.. 





i, | Assist me. . 


) 


Revert 


t Apply 




AWS 924-948 Owner's Manual 



Page 1-9 



DAW Connection 



Now drag the port connected to the AWS to the top of the list (in our example this port is Ethernet 2): 

Network 

f a I ► 1 f show All 1 lQ 



Ethernet 1 



Fire Wire 
Not Cot 



Location: AWS 
Service Order: 



Ethernet 2 
Ethernet 1 
Fire Wire 



Drag, services to change order. 

( Cancel ^ ( OK ^ 



and has the IP 



Search Domains: 



+ - ft. 



* Advanced.. . J (?) 



Now click OK then Apply. 

Alternatively, if you have already created a separate Location for your existing network you can simply delete the 
unused ports (Airport, Firewire) from the AWS location so that only the network port connected to AWS is 
remaining. 



Page I -10 



AWS 924-948 Owner's Manual 



DAW Connection 



Direct Network Connection (PC) 

• Double click on Network Connections in Start/Control Panel. Right click on the network adapter connected to your 
AWS (likely to be called "Local Area Connection"). Select Properties. 



Local Area Connection 4 Pro..„H?l|5C| 



General Advanced 
Conned using; 



Cisco Systems VPN Adapter 



| Zrr. 4: g_-e 



TNs connection uses the fofc wing items: 



Vl Tj" Network Monitor Driver 

V] !TABGISPtotocriCIEEEa02.1x)v3.1.Q.1 



Instal.. 



Ptcoerties 



Desertion 

Transmission Control Protocol/Internet Protocol. Thedefaut 
wide area netwoiK protocol that provides communication 
across diverse interconnected networks 

I I Stow icon in nojificeiion area when connected 

htotrfy me when ifts connection hae hmited oris eotirt&eiiviiy 



Select Internet Protocol (TCP/IP) and Properties. 
Next, configure the adapter as shown below: 



Internet Protocol (TCP/IP) Properties! ? |Xj 



General 



You can get IP settings assigned automatically if your network supports 
ths capability. Otherwise, you need tc ask your network administrator for 
the appropnate IP settings. 



Obtain an IP address automatical^ 










IP address; 
Subnet mask : 
Default gateway: 










192 


1GS 


i 


2 


255 


255 


255 


| 










192 


168 


1 . 


H 





QUnthsfollowhg DNS 


e«v«f addresses: 


Preferred DNS server: 
Alternate DNS server: 


1 • ■ ■ 1 




1 . . . 1 





[ Advanced. 



OK 



Caned 



Click on OK on both windows to save. Back in your network connection list, right click on your adaptor and ensure 
that it is enabled. If it is disabled, the enable option will appear in the list. Click on enable. 



AWS 924-948 Owner's Manual 



Page I -I I 



DAW Connection 



Enabling ipMIDI on your AWS 

In the SSL > MISC > SETUP menu, toggle the 'MIDI connects via:' setting to 'Network'. Your console will now 
communicate with your workstation via Ethernet. With 'MIDI connects via:' set to 'MIDI ports', AWS will communicate with 
your workstation via the conventional MIDI connectors on the rear of your console. 

You will need to reboot the console after changing this option. 

Also in the SSL > MISC > SETUP menu, ensure that the 'DAW' option (workstation layer I) and DAW2 (workstation 
layer 2) are set to match your workstation or workstations if you are using the second layer. Please note that you will need 
to restart the console after making a change to the DAW layer options. 

Finding the Console on the AWS Remote Application 

Launch AWS Remote on your workstation. If you only have one AWS console on the network, AWS Remote will 
automatically locate the console and the message 'AWS 948-924 SN xxxxx is online' (where xxxxx is the ID of the 

console) will be shown in green text in the bottom left hand corner of the browser: 



AWS943 SN 11649 Is crflne 



i Jones Fire -Lives Words Away 



If you have multiple AWS consoles on the network or the AWS Remote browser did not automatically locate your console 
'No AWS 924-948 connected' will be shown in red text. In this instance, click on the find icon i~0^~|. If the list is empty, 
click on Find, select the console you wish to connect to and click on select. 



click on Find. 










Find J 


Product 




Status 


1 


select 




AWS943 SN 2 


Online 
Online 






* 





I OK J 



If your console does not appear in the list, it suggests you have a network related issue. Please follow the steps in the 
network trouble shooting section at the end of this document to resolve the issue. 

Once you have made this selection, the AWS Remote will automatically connect to the selected console and display the 
AWS 948-924 SN xxxxx is online' message. To connect to a different console, click on the find icon , Q^ and 
change your selection. 



Page 1-12 



AWS 924-948 Owner's Manual 



DAW Connection 



Setting Your Workstation(s) to Communicate via ipMIDI 

The AWS software uses 10 virtual MIDI ports which are pre-assigned as follows: 



Port 


Layer 


Assignment 


Port 


Layer 


Assignment 


1 


1 


Faders 1-8 


7 


- 


MTC/MMC input* 


2 


1 


Faders9-I6 


8 


- 


SysEx 


3 


1 


Faders 17-24 


9 


- 


AWS MIDI Port 1 


4 


2 


Faders 1-8 


10 


- 


AWS MIDI Port 2 


5 


2 


Faders 9-16 








6 


2 


Faders 17-24 









• Note that MIDI port 4 or ipMiDI port 7 can be used for MTC input, allowing MTC to be connected from systems (such as 
RADAR) that do not support the ipMIDI driver. MTC should only be routed to one port at a time. 

• Note that there are now two switchable workstation layers allowing independent workstations to be interfaced. 
Once configured, you can switch between the two layers using the console's SSL > DAW menu. Port 7: If your 
console is equipped with SSL automation, this port is used to feed SSL automation with MTC. 

• Port 8: Used for the import of legacy SysEx TR and SSL automation data saved under earlier software versions. 

• Port 9-10: Mapped to the conventional MIDI connectors on the rear of the console allowing connection of a keyboard 
or other MIDI device to your DAW via ipMIDI . 

To select which DAW is assigned to each layer go to SSL > MISC > SETUP on your console and select the following: 
DAW I: select from Protoo/s HUI / Logic / Logic Handshake / Nuendo / Digital Performer / Sonar 
DAW 2: select from Protoo/s HUI / Logic / Logic Handshake / Nuendo / Digital Performer / Sonar / None 

After making these changes the console should be restarted. 

The MCU protocol supports automatic detection of connected control surfaces. To enable this select Logic Handshake. 
Logic will then automatically detect the AWS. If you select Logic Handshake on both layers then Logic will detect 6 control 
surfaces, which may not be what you want! The other protocols do not transmit handshaking messages. 

To enable control of your workstation via HUI or MCU your workstation(s) must be configured to match the appropriate 
layer in the list above. This is done using the MIDI Controller configuration page of your workstation. 

The following pages show examples using Pro Tools 8 and Logic Pro 9. 



AWS 924-948 Owner's Manual 



Page 1-13 



DAW Connection 



Pro Tools 8 

In the Setup menu, click on Peripherals and select the MIDI Controllers tab. Using MIDI controllers I, 2 and 3, select HUI 
as the MIDI controller Type and assign the MIDI ports for this layer's DAW to the two MIDI controllers, as listed in the 
table above. If Pro Tools has been assigned to Layer I, the MIDI Controllers window should look like this: 







Synchronizauc-r Machine Contra M Dl Controller iEheirct Controllcs vie PTcamps 


Satellites ' 


Type RecelMEFroni Send To dCn's 




#1 ^M ! HUI -H| Ip MIDI. Port] i\ IpMIDI.Porrl r-j \ B -H 
ffi 1 1 '" HUI ^H | Ip MIDI. Port? »4^ [ lpMIDI,J>orr2 *M [~B ^ 
ff3 ^M ! HUI -H | IpMO.Porti >M 1 IpMIDI^orti ^ f B -wi 
M ^H ' none 4J ' nam I none 






f r i > £ i 




"^ j 



If you have SSL automation, set the MTC generator port in the Synchronization tab to ipMIDI port 7 (or AWS MIDI port 
4 if you are using the console MIDI ports): 



Peripheral* 



I Synchrpnuttian M«hinc Control MCI Contrail t Elngmgt CqrvtroNrfr Mm frying* Satrliitw 
MTC Reader And Genernior 



MTC *ff.id*r Port: Any 



MTC Ccnrrator Port. ipMIDI. fort 7 



3 



[Mgkhxkgn Synchronization 0*w« 




G bum symc rtrfeturai 

VITC Insertion Enabled 
Pitdi Memory Enabled 
Idle MTC E uLkJ 

H -Wia%c,'Tich Pulxcx 


Current Firmware Vers ion. 




trc output Lcuci 




VITC Read Lines,. 




VITC Centrate Lines. 


in Mh»5e.'Taih. Wring- 




Iran* I 




Cr.iL- .• Dub Window 




Vtrtitjl Position 


5 la 


Horwontnl Position 


Color 





f Cin«l ^ ( Ot ) 

Also, set the MMC MIDI port in the Machine Control tab to ipMIDI port 7 (or AWS MIDI port 4 if you are using the 
console MIDI ports): 



Peripherals 




| Synchronization Madi ire Control MICH Controllers Ettier net Com rollers MIc Pfeamps Satellhes 


MIDI touch ire Control (Matter} 


ID 


Pr troll. 90 frames 


& Enable 1 ipMIDI. Port 7 T] 127 
MIDI Madi In e Control Remote (Slave* 


ID 
□ Eruble 127 


9-Pin Machine Control (Deck Co*nrol|i 


PDrt Machine Type 


Prerall: 15-D frames 

BIKB 
dco Clock RrltrcnccJ 


Enable None \ 

Use Serf J Time Code For Positional Refe 
(5eriil Time Code Rrquirei 5YWC With VI 

S Ph Remote (Deck Emulation) 


Port Machine Type 
□ Erublc None X ' KW-7S 


J □ Chaic LTC 








r Cancel "" f OK ^ 





Page 1-14 



AWS 924-948 Owner's Manual 



DAW Connection 



Logic Pro 9 

When Logic is assigned to one of the two AWS workstation layers a Mackie Control together with a Mackie Control 
Extender must be added to the Logic Pro Preferences/Control Surfaces Setup menu as shown below: 



hlir - h** * Vl*w " 



Vers. Ion- 

CblDT. 

Tram-part Sutton Click: 

Twch lest movable radierv 

Fader Touch Sensitivity 

Baclligrt Savi r Timsai* (minj : 

SfllUlrM.- 

» Central Surface Crcup 1 



r*»rti * 

piort ] : 

Logic Control 
Mackin Control 
VT.O 
1=1 

B 

3 
IS 



Q 5*llV Made. 
Oack Display 
I hj rr*l Sin n U'hw Madia' 
Fader Rank Tor Tracks View. 
Fader Bar*: for AJ I Vie*- 
Chaimal itrlp I .-i i iv - ■- •■ 
■. i ii .1 Parameier. 
Eft Band: 
EQ FSrimeren 
EQ Parameter Page: 
Said Slct: 
Send Parameien 
Said f aremeter Page. 
Split: iu. of uppir pararratin;: 
Inurnment Parameter F&ge : 
hst Param Page {Spl it Lower}. 
InwtSlot: 
Insert siorisplif LtHffiD- 
Hug-in Parameter Page. 
Plug-in Param Page lEpi It Lower) : 
Channel Sinn Track- 
Channel Strip Track (Split Lawcr*. 
Track Lock: 
Tratt Name format- 
PaiamtlEr Pngje Shift Mode, 
kalalivi Change Mods: 
Hn Group- 
Croup Parameter Page: 



Value 
B:its 



ftvenltv 



muz 

26eir3 

Name 
&r Page 
Coarsa 




AWS Faders I -8 are mapped to the Mackie Control ports along with the Master Fader and workstation Control function 
switches. AWS Faders 9 -16 and 1 7-24 are mapped to the Mackie Control Extender ports. The actual ipMIDI ports used 
will depend on which layer (or layers) Logic is assigned to. See the list of AWS MIDI port assignments for details. It is 
essential that the layout shown is followed. If the physical arrangement is reversed, then the AWS faders will not map 
correctly to the on-screen faders in Logic. 

If the protocol is set to Logic Handshake, Logic should automatically detect the three virtual controllers which will be 
shown in the Logic Setup menu (as shown above), with the appropriate AWS ipMIDI ports assigned. If Logic fails to detect 
the control surfaces, then the controllers can be added manually via the New/Install menu and the appropriate MIDI Out 
port and Input assigned. As described above, normally only one layer should be set to Logic Handshake. 

Full details can be found in the online Logic Pro 8 Control Surfaces Support guide in the Logic Help Menu. 



AWS 924-948 Owner's Manual 



Page I -IS 



DAW Connection 



Logic's Click and ports environment layer selects the SUM of all of the ipMIDI input ports as its default MCU control data source. 
This may lead to difficulties when using multiple DAW layers. To avoid Logic responding to MIDI messages intended for the 
other DAW layer, the Click and Port MIDI port mapping should be changed from SUM to individual direct MIDI port assign- 
ment. The example below shows Logic on DAW layer I: 




Preferences/Control Surfaces Setup Menu 

If you have SSL automation, set the MMC MIDI port in File/Project Settings/Synchronisation/MIDI to ipMIDI port 7 (or 
AWS MIDI port 4 if you are using the console MIDI ports): 



■>'■ -gearbox b No Duende Plugs - Project Settings 

& ® / a Q m e £■ 

Synchronization Metronome Recording Tuning Audio MIDI Score Video Assets 



General [ Audio MIDI Unilor 



MIDI Clock 



Transmit M I Dll Clock: Qj Destination 1 



Q Destination 2 



Delay transmission by: 
MIDI Time Code [MTO 



Transmit MTC 



[ ipMIDI Port? 



MIDI Machine Control (MMC) 



Iransmit MMC 

Q Listen to MMC Input 






*)n 



( MIDI Sync Preferences... ) 



For other DAWs, please refer to the program's manual for details about configuring MIDI controllers. 



Page 1-16 



AWS 924-948 Owner's Manual 



DAW Connection 



Network Troubleshooting 

Most Ethernet adaptor cards have two LEDs associated with each port. The one indicates that the link is connected and 
the other indicates network traffic. Please note that some Macintosh computers do not have external LEDs to indicate 
status. Instead the link status is shown in the System Preferences/Network menu. 

On your host workstation computer, confirm that the link LED is permanently illuminated. If it is not permanently illuminated, 
it suggests you have a cabling error. In this instance please check the following: 

• The RJ45 network connector on the console and on your workstation are fully inserted. 

• If you are using a pin-pin cable to make a direct connection between your console and workstation, try replacing it 
with a crossover cable. 

• Try replacing the network cable. 

• If you are not using a direct connection between your console and workstation using the default fixed IP address on 
the console, please try this simple configuration to rule out issues with external routers and network switches. If the 
link LED is illuminated, the next step is to confirm that the activity LED is illuminating periodically to show network 
traffic. If it does not illuminate periodically check the following: 

• If your workstation is not connected directly to your console using a crossover RJ45 cable and fixed IP addressing, 
follow the installation instructions to configure this simple network configuration to rule out issues with any external 
routers or network switches. 

• Using the fixed default IP address on the console, check that the workstation has basic communications using 'ping': 

Windows: 

Select Run under the Start menu. In the resulting window enter cmd to launch the command prompt. In the 
command prompt window type ping 1 92. 1 68. 1 .2 

Macintosh OSX: 

Open a Finder window, select Applications, then Utilities, and double-click on Terminal. In the terminal window 
enter ping -c4 1 92. / 68. / .2 

In both cases your host computer will try to establish communications with your console. In the resultant terminal 
text, check that the console responded to every message sent by your workstation. 



AWS 924-948 Owner's Manual Page 1-17 



DAW Connection 



Larger Networks 



IP Network 




AW£900+ConsoU 



To ensure minimum latency the ipMIDI driver uses broadcast UDP rather than TCP/IP. This means that: 

• The network connection should be as short as possible and should only use routers that can support high data transfer 
rates. Problems have been experienced with some domestic routers, particularly when used with Pro Tools. 

• Because ipMIDI uses broadcast UDP packets, messages between one computer and AWS will be received by all other 
computers on the network, potentially causing problems in installations with more than one AWS. The UDP packets 
can be blocked by using a firewall router and connecting the main network to the WAN connector. The firewall can 
then be configured to allow all traffic apart from UDP ports 21928 through 21947 which are used by ipMIDI and 
(optionally) port 50081 which is used by the AWS Remote application. Most systems can be easily configured with a 
direct connection between AWS and the controlling computer. 



Page 1-18 



AWS 924-948 Owner's Manual 



DAW Connection 



Assigning the AWS IP Address 

When shipped from the factory, the AWS uses a fixed IP address of 1 92. 1 68. 1 .2. 

Using DHCP 

Alternatively, dynamic (DHCP) address can be selected via the SSL > MISC > NET menu. The currently assigned address 
is also shown in the MISC > ABOUT > NET menu. If your AWS is connected to the computer via a network switch or 
router, it should be assigned a DHCP IP address; otherwise the fixed option should be used. If you have altered the IP 
mode, you will need to restart your AWS for the change to take effect. A software restart option is available in the 
SSL > MISC > NET menu. 

Changing the Static IP Address 

The default fixed IP address can be altered using the console diagnostic port. This should only be necessary where the 
default address is already in use at an installation. 

You will need a PC or Mac running terminal emulator software. Connect your computer's serial port to the rear of the 
console using a 9 way 'D' type extension cable. The pin out for the console's 9 way 'D' type serial connector is shown below: 



Pin 


Description 


1 


Carrier (linked to OV) 


2 


Tx 


3 


Rx 


4 


DTR (linked to DSR) 


5 


OV 


6 


DSR (linked to DTR) 


7 


RTS (linked to CTS) 


8 


CTS (linked to RTS) 


9 


Rl (linked to OV 



A standard male - female pin-to-pin 9-way D-type lead can be used for serial connection. 

Set the terminal as follows: Baud rate 1 9200, 8 data bits, No parity, No start bit, I stop bit, Flow control Xon/Xoff 
Press the 'Return' key (<CR>) and the terminal window should echo a V if communication is established. 
To set the IP address type the following (note that the spaces are required between the number groups): 

ip<CR> 

setip nnn nnn nnn nnn<CR> where 'nnn...' is the required IP address. 

setmask 255 255 255 0<CR> Note that this number should match other devices local to the console. 

setgate nnn nnn nnn nnn<CR> where 'nnn...' is the gateway address e.g. '10 I I I' 



AWS 924-948 Owner's Manual 



Page 1-19 



DAW Connection 



Using Physical MIDI Ports to Connect your DAW 

Optionally the AWS can use a standard MIDI connection between the AWS console and your DAW using a multi port MIDI 
interface. In this mode only one DAW layer can be configured. To select this mode navigate to the SSL > Misc > Setup 
menu and set MIDI communicates via: MIDI Ports. 

The console communicates with the DAW via the MIDI ports located on the rear of the console: 



MIDI 1 1 | MIDI 2 1 | MIDI 3 . i MIDI 4 . , MIDI 5 . i MIDI 6 1 A \A/^ MIDI 

IN OUT I I IN OUT I I IN OUT I I IN OUT I I IN OUT I I IN OUT I /AVVO I \\U\ 



QOQOQOQOOOOO 



Ports 



oooooooooooo DA r° 

IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT 



MIDI ports should be connected to your DAW MIDI interface unit -three available ports are required (one port includes 
an IN and OUT socket). To connect a port, the output of the MIDI interface unit port I should connect to the MIDI I input 
port of the AWS and the MIDI output of the AWS port I should connect to the input of your MIDI interface unit port I. 
Repeat for the other ports using the diagram above as a guide. Port 4 is used both for archiving Total Recall and Automation 
data and to receive MIDI Timecode (MTC). 

Follow the instructions on configuring your workstation but use the physical MIDI ports rather than the virtual MIDI ports 
when selecting MIDI ports. 

Ports 5 and 6 are currently not implemented and are reserved for future expansion. 
The recommended maximum length of MIDI cables is 15 meters. 



Other Connections 

Serial I - X-Rack control data. Refer to X-Rack installation manual. 

Serial 2 - Diagnostics (SSL Service use) 

CP /O - Talkback, Red Light, CUT and DIM trigger inputs. \J\ Refer to Appendix C for details. 

VGA - 640 x 480 (60Hz) External monitor output. 



Page 1-20 



AWS 924-948 Owner's Manual 



Solid State Logic 

SOUND VISION 



AWS 924-948 
Owner's Manual 



SECTION 2 

2a AWS 924 Tutorial 
2b AWS 948 Tutorial 



AWS 924 Tutorial 



Section Contents 



2a - AWS 924 Tutorial 



Introduction 

Studio Configurations 
Smaller Systems 
Larger Systems 

Focus Modes 



2a-iv 

2a- 1 
2a- 1 
2a- 1 
2a-2 



924 Channel Strip 

Input configuration 
Signal Processing 

Dynamics 

Filter and EQ 

Insert Point 
Routing 2a-3 

Cue, FX and EFX Sends 

Bus Routing 
Panning, Width and Balance 
Level, Cuts and Solos 



2a- 3 

2a-3 
2a-3 
2a-3 
2a-3 
2a-3 

2a-3 
2a-3 
2a-4 
2a-4 



Centre Section 

Adjusting the Mix and Record Busses 

Creating a Monitor Mix 

Creating Foldback Mixes 

Using the FX Returns 

Using Talkback 

'In-line' Recording 



2a-5 

2a-5 
2a-5 
2a-5 
2a-5 
2a-5 
2a-5 



Page la-ii 



AWS 924-948 Owner's Manual 



AWS 924 Tutorial 



2b - AWS 948 Tutorial 



Focus Modes 



2b- 1 



Channel Modes 

Basic Tracking Configuration 

Mono Configuration 

Stereo Configuration 
Analogue-style In-Line Tracking Configuration 

Band Tracking Mode 

Overdub i 'Playback Tracking Mode 
Mixing Configurations 

Basic Stereo Mixdown 

Additional Send Mixing 

Additional Return Mixing 
Mode Selection 



2b-3 

2b-4 
2b-4 
2b-4 
2b-5 
2b-5 
2b-5 
2b-6 
2b-6 
2b-6 
2b-7 
2b-8 



948 Channel Strip 

Input configuration 
Signal Processing 

Dynamics 

Filter and EQ 

Inserts 
Routing 2b-9 

Cue and FX Sends 

Bus Routing 
Panning, Width and Balance 
Channel Level, Cut and Solo 



2b-9 

2b-9 
2b-9 
2b-9 
2b-9 
2b-9 

2b-9 
2b- 10 
2b- 10 
2b- 10 



Centre Section 

Adjusting the Mix and Record Busses 
Creating a Monitor Mix 
Creating Foldback Mixes 
Using the FX Returns 
Using Talkback 



2b- 1 I 

2b- 1 
2b- 1 
2b- 1 
2b- 1 
2b- 1 



AWS 924-948 Owner's Manual 



Page 2a -Hi 



AWS 924 Tutorial 



Introduction 

These tutorials aim to provide an operational overview of AWS 924/948 consoles, highlighting the ways in which it is 
different from other consoles with which operators may be familiar. 

Each tutorial provides an overview of typical studio configurations, mode selection and both the channel strip and Centre 
Section controls. 

This section does not cover operation in depth - more detailed information will be found in section 3. 



Page 2a-iv AWS 924-948 Owner's Manual 



AWS 924 Tutorial 



AWS 924 TUTORIAL 



Studio Configurations 

There are a number of ways the AWS 924 can function within your studio environment, depending on how you intend to 
use it and how much DAW IO is available to you. Two basic 'serving suggestions' are outlined below. 

Smaller Systems 



i 



Signal 
Processing 



^ 



Channel Input: 

Mic or Line In 




Fold back 

Larger Systems 



Channel 
Line Input 






Channel 
Mic Input 



A 

Fold back 




Signal 
Processing 



Mix 
Bus 



CUE Sends 



Ext B 



AWS 924-948 Owner's Manual 



Page 2a- 1 



AWS 924 Tutorial 



Focus Modes 

In order to allow console controls to be used for controlling either analogue signals or an external DAW, 
SSL created 'Focus modes' as a way of allowing the AWS to 'focus' on one or other domain. To switch 
between modes, press the Focus switch, towards the bottom of the console centre section (shown right). 
The button is lit for Analogue Focus, and unlit for DAW Focus. Focus mode can also be quickly checked 
by looking at the channel meters: the bottom LEDs stay lit when the console is in Analogue Focus. 



m 



While a number of controls always retain the same role (such as analogue signal processing, routing and monitoring, or DAW 
transport control), the roles of the following controls are different in each Focus mode: 



Console Element 

Channel fader, 
plus its cut and solo 



Analogue Focus (Button lit) 



Analogue signal in channel 



DAW Focus (Button unlit) 



DAW channel level 



Channel V-pot, 
plus its cut and solo 



Available for DAW parameters 
(see notes below) 



Available for DAW parameters or 
analogue signal control (see notes below) 



Channel 
SEL switch 



Assigns analogue channel to Master 
Section 



Controls DAW Record, Select highlights 

DAW channel or plugin focus, depending 

on mode 



Channel 
meters 



Displays channel's analogue signal level 
(see notes below) 



Displays DAW channel level 
(see notes below) 



When the console is in DAW Focus mode, analogue level control can be assigned to the V-pots by pressing the 
CHANNEL button, to the left of the Focus button. This allows 'In-Line'-style signal control but with the monitor 
mix being created using the DAW digital mixer. Pressing the V-pot will then reverse the functions of the V-pot and 
fader. 

Channel meters can be locked to either Focus mode by entering the Function Keys* Meters menu and selecting 
either DAW or Anl. 



Page 2a-2 



AWS 924-948 Owner's Manual 



AWS 924 Tutorial 



924 Channel Strip 





Routing 





Input configuration 

Select the Mic or Line input by pressing FLIP and adjust the input gain using the 
appropriate gain pot. The signal level is shown in the meter bridge above the channel. 



Signal Processing 

Dynamics 

Any channel can make use of the two compressor/gate modules housed within the AWS 
centre section. Press the I or 2 button at the bottom of the meter bridge to insert one 
of them into the channel path. 

Dynamics cannot be assigned if they are already being used by another channel. 

The IN button at the bottom of the compressor/gate module switches it into circuit. 

Filter and EQ 

The filter and EQ are both switched in using the EQ IN switch. Turn the HPF pot up 
from minimum to activate the filter - the EQ IN goes from red to green to indicate that 
the filter is active. 

The EQ has four bands, each with a gain control pot labelled 'dB' and frequency control, 
and the mid bands have Q control. Press the HF and LF bands' BELL buttons to switch 
from shelf to bell shape. 

Insert Point 

To switch the channel insert into circuit, press the INS IN switch in the centre of the 
EQ section. Press PRE to place it before the EQ in the processing chain. 





Cue, FX and EFX Sends 

To activate the Cue or FX sends, press on its gain pot and turn up the gain. The Stereo Cue signal is 
normally sourced pre-fader - to move it to after the fader, press POST. The stereo cue also has a pan 
control. 

There are two stereo cue busses and four FX busses. Each channel can feed one of the stereo cue busses 
and two of the FX busses (FXI or 3, FX2 or 4). Any send can instead control the EFX system, which uses 
auxiliary sends to control the level of the channel's feed to the track busses or direct output - use the 
CUE B, FX3, FX4 and EFX switches to select between sends. 

Bus Routing 

To route channels to the Record and Mix busses, press the REC and/or MIX switch to the right of the 
channel pan pot. 

Use the eight numbered switches immediately underneath the channel meters (shown above right) to 
route to the track busses. By default, signals are sent post-fader. To source the send pre-fader or post pan- 
control, press the PRE or PAN switches beneath the track bus selection switches. 



AWS 924-948 Owner's Manual 



Page 2a -3 



AWS 924 Tutorial 



Panning, Width and Balance 

The pan pot towards the bottom of the channel strip is used to adjust the stereo position of signals being sent to the 
Record and Mix busses, as well as to the Track busses when they are functioning in stereo. 



Level, Cuts and Solos 

The channel fader controls the channel send to the Rec and Mix busses, as well as any other sends which are operating post- 
fader. Use the CUT and SOLO switches below the digital display to mute or solo the signal assigned to the fader. 



Page 2a-4 AWS 924-948 Owner's Manual 



AWS 924 Tutorial 



Centre Section 



Adjusting the Mix and Record Busses 

To assign control of the Record and/or Mix busses to the master fader, hold down the button 
at the base of the RECORD or MIX columns of the bussing matrix next to the fader, and 
press the button in the row labelled FADER. Now move the master fader to adjust the bus 
level. 

Creating a Monitor Mix 

Press MIX in the MON SRC buttons monitor source buttons on the Monitor Control 
Panel and ensure that the CUT button is inactive. Adjust the monitor level using the main 
monitor level pot. 



Creating Foldback Mixes 

Foldback mixes can be quickly created using the Foldback section of the centre section. 

Select sources using the buttons down the right-hand side. The MIX pots control level for the sources to 
their right. There is also an overall LEVEL control. 

Using the FX Returns 

External FX processing such as reverbs and delays can be connected to the console's four FX send busses. 
FX unit outputs can be returned back into the AWS via the four Stereo Return inputs in the console centre 
section. These can be routed to either of the foldback mixers, and to the record and mix busses. 





Using Talkback 

The talkback controls are located to the right of the shuttle wheel. Press SLATE to send 
talkback to the Mix, Rec and Track busses, press FB A or B to send it to the foldbacks, or 
press TB ALL to send it to all outputs. The black pots above the TFT screen control 
communications levels. 



'In-line' Recording 

Selecting CHANNEL on the Master Control Panel while in DAW Focus will allow you to control the input levels from 
the channel rotary encoders and the DAW mix from the channel faders. Pushing the Channel Rotary Encoder will swap the 
encoder and fader, which allows some faders to control input level and others to control the DAW monitor mix, mimicking 
the operation of an in-line console. See Section 4 for more details. 




AWS 924-948 Owner's Manual 



Page 2a-5 



AWS 948 Tutorial 



This page is intentionally almost blank 



Page 2b-\ AWS 924-948 Owner's Manual 



AWS 948 Tutorial 



AWS 948 TUTORIAL 



Focus Modes 

In order to allow console controls to be used for controlling either analogue signals or an external DAW, 
SSL created 'Focus modes' as a way of allowing the AWS to 'focus' on one or other domain. To switch 
between modes, press the Focus switch, towards the bottom of the console centre section (shown right). 
The button is lit for Analogue Focus, and unlit for DAW Focus. Focus mode can also be quickly checked 
by looking at the channel meters: The bottom LEDs stay lit when the console is in Analogue Focus. 



m 



While a number of controls always retain the same role (such as analogue signal processing, routing and monitoring, or DAW 
transport control), the roles of the following controls are different in each Focus mode: 



Console Element 



Analogue Focus (Button lit) 



DAW Focus (Button unlit) 



Channel faders, 
plus its cuts and solos 



Analogue signal in channel 



DAW channel level 



Channel V-pots, 
plus its cuts and solos 

Channel 
SEL switch 

Channel 
meters 



In-line: Secondary path level; Stereo: Balance 
Or DAW params (see notes below) 

Assigns analogue channel to Master Section 

Displays channel's analogue signal level 
(see notes below) 



Available for DAW parameters or 
analogue signal control (see notes below) 

Selects DAW Record, Select or 
channel plugin depending on mode 

Displays DAW channel level 
(see notes below) 



When the console is in DAW Focus mode, analogue level control of stereo channels can be assigned to the V-pots 
by pressing the CHANNEL button, to the left of the Focus button. This allows 'In-Line'-style signal control but 
with the monitor mix being created using the DAW digital mixer. Pressing the V-pot will then reverse the functions 
of the V-pot and fader. 

Channel meters can be locked to either Focus mode by entering the Function Keys* Meters menu and selecting 
either DAW or Anl. 

In In-line Channel Modes, the V-pot adjusts the secondary channel path's level, as explained on Page 2b-5. 



AWS 924-948 Operator's Manual 



Page 2b- 1 



AWS 948 Tutorial 



This page is intentionally almost blank 



Page 2b-2 AWS 924-948 Owner's Manual 



AWS 948 Tutorial 



Channel Modes 

When in Analogue Focus mode, the AWS 948 channel strips can operate within a number of different Channel Modes, suiting 
a variety of operational contexts. The two channel paths within the channel strips may control any of the following: 

1 . A mono or stereo input signal, for basic tracking 

2. An input signal and monitor return from the DAW, for more advanced ('in-line') recording and overdubbing 

3. An input signal plus additional FX sends, for mixing sessions with complex effects configurations 

4. Two independent input signals, for mixing up to 48 signals 

Each channel strip is independently configurable, allowing for a number of modes to be present on the control surface at 
once. 



Over the following pages are more detailed introductions to each the console's operation modes. The diagrams use the 
following key: 

Console channel signals: ^^^^^^^^ (Path A) ^^^^^^^^ (Path B) 

Other console signals: ^ (stereo) 

External signals: ^^^^^^^" (mono) ^ (stereo) 

Control: -< ► 



Channel V-Pot 



Channel fader 



LU 



AWS 924-948 Owner's Manual Page 2b-3 



AW5 948 Tutorial 



Basic Tracking Configuration 

For basic tracking, channels can be a mixture of stereo and mono. The signal processing, cue and FX sends are available within 
both channel configurations. Sends to the DAW can be sourced either from the Channel Outputs or from the Track Busses, 
and the stereo master return from the DAW might be brought back into the console via either the External inputs or a 
stereo channel. The EFX system can be employed to provide independent level to the DAW send. Mono-configured channels 
use In-Line Mix with the secondary channel path left inactive. 

Note that Channel Outputs are always mono. Stereo channels therefore need to be sent to the DAW using a pair 
of Track busses. 

Below are examples of how mono and stereo channels might be configured in basic mode. The stereo master return from 
the DAW may be brought back into the console using an EXT B input (as shown for the mono configuration) or a spare 
stereo channel (as shown for the stereo configuration). The monitors can be fed by a sum of the mix bus and the DAW 
return (as shown for the mono configuration) or by just the DAW (as shown for the stereo configuration). 

EFX is described in Section 3. 
Mono Configuration 



t. 



Channel I Input: 

Mic In or Line In Left 



Signal 
Processing 



Foldback 




M W < CUE! 



Stereo Configuration 




Foldback 



Page 2b-4 



AWS 924-948 Owner's Manual 



AWS 948 Tutorial 



Analogue-style In- Line Tracking Configuration 

In In-Line Tracking mode, Channel Paths A and B are used for tracking and monitoring respectively. The V-Pot functions as 
the 'small fader', controlling Path A's record path to the DAW via the channel outputs. The main faders control the monitor 
level (Path B). The RETURN switch near the pan pot in the channel strip controls whether the monitor path is sourced 
from DAW send from the record path or from the DAW return: 

Band Tracking Mode 

For multi-instrumentalist tracking, leave the RETURN switches unselected. The monitor path will therefore be fed from 
the channel output, ensuring that everything is heard, regardless of the DAW's record status. Signal Processing can be 
assigned to either path, allowing it to be committed to 'tape' or restricted to the monitoring. Sends to the DAW can be 
sourced either from the Channel Outputs or from the Track Busses. 



I 



Channel I 
Rec Input: 

Mic In or Line In L 



Channel Path A 



^^: 



Signal 
Processing 



Channel Path B 




Monitoring 



Chan I 
Output 



DAW 
track 
in f 






Overdub/Playback Tracking Mode 

For overdubbing, pressing the RETURN switches will switch the monitor path to be fed from the DAW return, allowing 
recorded tracks to be auditioned. The channel outputs should feed the DAW and the DAW channels should be returned 
to the monitoring paths in the channel from which they are sourced. 



T 



Channel I 
Rec Input: 

Mic In or Line In L 



Channel I 
Mon Input: 

Line In R 



i 



Channel Path A 



1 — T 



Signal 
Processing 



Channel Path B 



i 




Monitoring 



'•' 




Chan 1 
Output 



DAW 
track 

in 1 



DAW track out 



w * p 



M-AUTO and S-CUE use the transport status to automatically control the send and return routing to the monitoring 
and headphone feeds, as described in Section 3. 



AWS 924-948 Owner's Manual 



Page 2b-5 



AW5 948 Tutorial 



Mixing Configurations 

When mixing in In-line mode, the secondary channel path can be employed either as an additional send from the channel, 
as the right input of a stereo signal, or as an independent additional input path, allowing up to 48 signals to be mixed on the 
console. Because channels are independently configurable, additional inputs might be assigned to channels not requiring 
extra sends, allowing those signals that do require the extra send to take advantage of both channel paths. 

Basic Stereo Mixdown 

Basic stereo mixdown uses the channel in Stereo mode: 




Channel Path A 



T^ 



Signal 
Processing 



FX 

Sends 



t k 



Channel Path B 




• •• 

External processing 



DAW 



Additional Send Mixing 

In the Additional Send configuration (In-line Mix mode with the in-channel RETURN switch unselected), the second 
channel path can be sourced pre- or post-fader, and each of the sends can be switched between them. This allows for a high 
level of flexibility of send leveling and automation. The channel's signal processing is applied to both channel paths. The V- 
pot controls the additional send level and the fader the main channel contribution to the Mix and/or Record busses. 



Hipp fr> ii p 



DAW 

track 
out 



Channel I 
Input: 

Line In L 



Channel Path A 



m 



n 



Signal 
Processing 



n 



T 



T 



FX Snds 



Mix Bus 



Track Bus I 





••• _ 

External processing 



DAW 



Page 2b-6 



AWS 924-948 Owner's Manual 



AWS 948 Tutorial 



Additional Return Mixing 

In the Additional Return configuration (In-line Mix mode with the in-channel RETURN switch selected), the two channel 
paths can function entirely independently, with signal processing and FX sends switchable between channel paths. The V-pot 
and channel fader provide independent level control to each signal. 




■ ► »' ' ► 



DAW 
track I 
out 



DAW 
track 25 

out 



Channel I 
Input I: 

Line In L 



Channel Path A 



Channel I 
Input 2: 

Line In R 



T T 



Signal 
Processing 

-r 



1 



Mix Bus 



FX Send 
+ Return 



Channel Path B 





DAW 



AWS 924-948 Owner's Manual 



Page 2b-7 



AW5 948 Tutorial 



Mode Selection 

Modes are selected using the Function keys in the left-hand side of the centre 
section (shown right). The channel mode options are displayed in the bottom 
row of softkeys when none of the top row of switches are selected. 

The channels to be configured are selected by pressing one or more channel 
strip SEL keys, or globally using the ALL Function key. 





The default mode is In-line Mix. Press TRK to activate In-line 
Track mode. Press ST to activate Stereo mode. The switches 
light to indicate In-line Track and Stereo mode. Note that the 
TRK and ST buttons are inter-cancelling. 

To use a mono channel configuration for basic tracking, simply 
return to In-line Mix mode and ignore the secondary channel 
path. 



When in either In-Line modes, the 
RETURN switches (near the pan pots in 
the channel strips) are unselected, meaning 
that the secondary path is sou reed from the 
primary path. Press RETURN to switch the 
monitor path to the external signal. The 
RETURN LED lights to indicate it is active. 



When the SET Function key (next to the ALL Function key) is selected, pressing any in-channel non- 
latching switches (such as the RETURN switch) will cause that switch to activate in all selected 
channels 




The mode and its basic signal path are indicated in the console TFT screen when the SSL > Chan softkey is pressed. The 
LEDs below the in-channel RETURN switch also indicate the mode, as indicated in the summary table below: 



Mode 


Activation 


Indication 


Path 1 


Path 2 


In-line Mix 

extra send 


TRK and ST Function keys and 
Channel Return all off 


Channel IN LINE LED is green, 
no Function keys light. 


Mic / Line L 


Extra 
send 


In-line Mix 

extra input 


TRK and ST Function keys off, 
press channel Return switch 


Channel IN LINE and RETURN 

LEDs are green, no Function keys light. 


Mic / Line L 


Line R 


In-line 
Track 


Select TRK Function key 
(Channel Return switch off) 


Channel IN LINE LED is red, 
TRK Function key lights. 


Mic/ Line L 


Channel 
Output 


In-line 
'Playback* 


Select TRK Function key and 
channel Return switch 


IN LINE is red, RETURN is green, 

TRK Function key lights. 


Input 
source 


Line R/ Mon 
Return 


Stereo 


Press ST Function key 


Channel STEREO LED is yellow, 

ST Function key lights. 


Line L 


Line R 



Page 2b-8 



AWS 924-948 Owner's Manual 



AWS 948 Tutorial 



948 Channel Strip 





Input configuration 

Line input is automatically selected in Stereo mode. In In-line mode, select the Mic or (left) 
Line input by pressing FLIP and adjust the input gain using the appropriate gain pot. The 
signal level is shown in the meter bridge above the channel. 



Signal Processing 

Dynamics 

Any channel can make use of the two compressor/gate modules housed within the AWS 
centre section. In mono mode, press button I or 2 at the bottom of the meter bridge to 
insert one of them into the channel path; in stereo mode, press either button to assign 
both dynamics modules to the stereo channel. 

Dynamics cannot be assigned if they are already being used by another channel. 

The compressor/gate modules are located below the Track meters. The IN button at the 
bottom of each module switches it into circuit. 

Filter and EQ 

The filter and EQ are both switched in using the EQ IN switch. Turn the HPF pot up 
from minimum to activate the filter - the EQ IN LED goes from red to green to indicate 
that the filter is active. 

The EQ has four bands, each with a gain control pot labelled 'dB' and frequency control, 
and the mid bands have Q control. Press the HF and LF bands' BELL buttons to switch 
from shelf to bell shape. 

Inserts 

To switch the channel insert into circuit, press the INS IN switch in the centre of the 
EQ section. Press PRE to place it before the EQ in the processing chain. The insert is 
stereo for stereo channels, and is available for either channel path in in-line modes, as 
explained in Section 3. 





Routing 




Cue and FX Sends 

To activate the Cue or FX sends, press on its gain pot and turn up the gain. The Stereo Cue signal is 
normally sourced pre-fader - to move it to after the fader, press POST. The stereo cue pan control 
becomes a balance control on stereo signals. Note that the cue pan can be set to follow the channel pan, 
in which case the cue pan control becomes the secondary path's pan and the cue buss follows the channel 
pan control. 

There are two stereo cue busses and four FX busses. Each channel can feed one of the stereo cue busses 
and two of the FX busses (FXI or 3, FX2 or 4). Any send can instead feed the EFX system, which uses 
auxiliary sends to control the level sent to the track busses or direct output - hold ALT/EFX SEL and 
press the gain pot to select between sends and EFX. 

Centre Section Cue and FX bus controls are located in the top right-hand corner of the console. 



AWS 924-948 Owner's Manual 



Page 2b-9 



AW5 948 Tutorial 




Bus Routing 

To route channels to the Record and Mix busses, press the REC and/or MIX switch to the right of the 
channel pan pot. For in-line signals, the REC and MIX switches operate on the channel path assigned to 
the main fader. Press on the V-pot below the REC and MIX switches to switch the main fader and V- 
pot. The REC and MIX switches now control the routing of the secondary path. 

Use the eight numbered switches immediately underneath the channel meters (shown above right) to 
route to the track busses. By default, signals are sent post-fader. To source the send pre-fader or post pan- 
control, press the PRE or PAN switches beneath the track bus selection switches. Centre section track 
bus controls are located in the top right-hand corner of the console. 



1 SEL 1 




1 SOLO 


1 CUT 1 



Panning, Width and Balance 

The pan pot towards the bottom of the channel strip is used to adjust the stereo position of signals being 
sent to the Record and Mix busses, as well as to the Track busses when they are functioning in stereo. 

For stereo signals, the pan pot functions as a width controller. Stereo signal balance is controlled using the 
V-pot just above the channel's digital display. 

In In-line Mix mode, the main channel pan pot operates on the primary channel path; in In-line Track mode 
it operates on the monitor path. By default, the CUE ST pan pot controls pan for the other channel path 
whenever it is routed to a stereo bus (as indicated by the CUE LED to the left of the CUE ST pan pot 
being unlit) and the Cue pan follows the main channel pan. Deselect CUE F-CH (Cue Follows CHannel 
pan) in the Channel Setup screen (See Page 2b-8) to switch the CUE ST pan pot from the channel path 
to the Cue send. 



Channel Level, Cut and Solo 

The channel fader controls the channel send to the Rec and Mix busses, as well as any other sends which 
are operating post-fader. 

For In-line Track mode, the main fader controls the secondary channel path (monitor path), and the V-pot 
controls the primary channel path. In In-line Mix mode the channel fader controls the primary path and 
the V-pot the secondary path. Pressing the V-Pot will swap the paths assigned to fader and V-Pot. 

Use the CUT and SOLO switches below the digital display to mute or solo the signal assigned to the 
fader. 

Note the SEL switch is used for assigning the channel to certain centre section configuration procedures, 
including the channel mode set-up in the TFT screen. 



Page 2b- 10 



AWS 924-948 Owner's Manual 



AWS 948 Tutorial 



Centre Section 



Adjusting the Mix and Record Busses 

To assign control of the Record and/or Mix busses to the master fader, hold down the 
button at the base of the RECORD or MIX columns of the bussing matrix next to the 
fader, and press the button in the row labelled FADER. Now move the master fader to 
adjust the bus level. 



Creating a Monitor Mix 

Press MIX in the MON SRC buttons monitor source buttons on the Monitor Control 
Panel and ensure that the CUT button is inactive. Adjust the monitor level using the main 
monitor level pot. 





Creating Foldback Mixes 

Foldback mixes can be quickly created using the Foldback section of the centre section. 

Select sources using the buttons down the right-hand side. The MIX pots control level for the sources to 
their right. There is also an overall LEVEL control. 



Using the FX Returns 

External FX processing such as reverbs and delays can be connected to the console's four FX send busses. 
FX unit outputs can be returned back into the AWS via the four Stereo Return inputs in the console centre 
section. These can be routed to either of the foldback mixers, and to the record and mix busses. 



Using Talkback 

The talkback controls are located to the right of the shuttle wheel. Press SLATE to send 
talkback to the Mix, Rec and Track busses, press FB A or B to send it to the foldbacks, or 
press TB ALL to send to foldback A and B outputs. The black pots above the TFT screen 
control communications levels. 




AWS 924-948 Owner's Manual 



Page 2b- 1 1 



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Page 2b- 1 2 AWS 924-948 Owner's Manual 



Solid State Logic 

SOUND VISION 



AWS 924-948 
Owner's Manual 



SECTION 3 

Analogue Operations 



Analogue Operations 



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Page 3-ii AWS 924-948 Owner's Manual 



Analogue Operations 



Section Contents 



Section Contents 
Introduction 

Focus Modes 
The TFT Screen 

Channel Modes (948 only) 

Channel Configuration (AWS 948 only) 
In-line Mix 
In-line Track 

Channel Strip 

Overview 

Input configuration 

Channel Meters 

Dynamics 

Filter 

Equalizer 

Insert Point 

Signal Processing Order 

Cue, FX and EFX Sends 

Direct Output 

Direct Outputs and EFX: 
Track Bus Routing 

Track Busses and EFX: 
REC and MIX Bus Routing 
Panning, Width and Balance 
Scribble Strips 

Channel Display 

Chinagraph Scribble Strip 
Channel Selection 
Cut and Solo Switches 
Level Control 

Centre Section 

Introduction 

Power Supply Indicators 
Function Keys 
Monitoring 

MON MODE buttons 

Monitor Configurations 

External Source Selectors 

Monitor Options 

Monitor Insert 

Bass Management 

Monitor Level Calibration 

Monitor Level Display and Calibrated listening level 
SOLO Configuration 



3-m 
3-1 

3-1 
3-2 

3-3 

3-4 
3-4 
3-4 

3-5 

3-5 

3-6 

3-6 

3-6 

3-7 

3-7 

3-8 

3-8 

3-9 

3-10 

3-10 

3-10 

3-10 

3-11 

3-11 

3-12 

3-12 

3-12 

3-12 

3-12 

3-13 

3-15 

3-15 
3-15 
3-15 
3-16 
3-16 
3-17 
3-17 
3-17 
3-18 
3-18 
3-19 
3-20 
3-20 



AWS 924-948 Owner's Manual 



Page 3-iii 



Analogue Operations 



Mix and Rec Bus Controls 

Adjusting a master level 

Assigning Centre Section Dynamics 

Assigning the Stereo Compressor 

Activating bus inserts 
Dynamics Operation 

Compressor/ Limiter Section 

Gate/Expander Section 
Track Bus Master Controls 
Cue/FX Send Master Controls 

Cue and FX bus injection 
Foldback Headphone Outputs 
Stereo FX Returns 
Communications 

Communications Setup Options 
Oscillator 

Centre Section Metering 
Console Setup Menu 

Automation 

Talkback 

Monitor section 

Desk Setup 

DAW setup 

Desk settings 



3-21 
3-21 
3-21 
3-21 
3-21 
3-22 
3-22 
3-22 
3-23 
3-23 
3-23 
3-24 
3-24 
3-25 
3-26 
3-26 
3-27 
3-28 
3-28 
3-29 
3-29 
3-29 
3-30 
3-30 



Page 3-lv 



AWS 924-948 Owner's Manual 



Analogue Operations 



ANALOGUE OPERATIONS 



Introduction 

AWS consoles combine SuperAnalogue™ technology from SSL's analogue consoles with powerful DAW control. Much of 
the control surface will be familiar to any recording engineer who has previously used our SL 4000 or SL/XL 9000 console 
ranges. Once recorded, signals can then be manipulated within the DAW via the AWS control surface, and then either 
summed internally within the DAW or returned to the analogue domain for processing through the fader-strip EQ sections 
and assignable dynamics processors, and monitored in stereo or 5.1. 

The AWS 948's in-line architecture allows for a seamless interaction between input and DAW signals, in the vein of SSL's 
classic E and G series consoles. 



Focus Modes 

In order to allow console controls to be used for controlling either analogue signals or an external DAW, 
SSL created 'Focus modes' as a way of allowing the AWS to 'focus' on one or other domain. To switch 
between modes, press the Focus switch, towards the bottom of the console centre section (shown right). 
The button is lit for Analogue Focus, and unlit for DAW Focus. Focus mode can also be quickly checked 
by looking at the channel meters: the bottom LEDs stay lit when the console is in Analogue Focus. 



m 



While a number of controls always retain the same role (such as analogue signal processing, routing and monitoring, or DAW 
transport control), the roles of the following controls are different in each Focus mode: 



Console Element 


Analogue Focus (Button lit) 


DAW Focus (Button unlit) 


Channel faders, 
plus its cuts and solos 


Analogue signal in channel 


DAW channel level 


Channel V-pots, 
plus its cuts and solos 


In-line: Secondary path level; Stereo: Balance 
Or DAW params (see notes below) 


Available for DAW parameters or 
analogue signal control (see notes below) 


Channel 
SEL switch 


Assigns analogue channel to Master Section 


Highlights DAW channel, track arm or 
plug-in select 


Channel 
meters 


Displays channel's analogue signal level 
(see notes below) 


Displays DAW channel level 
(see notes below) 



When the console is in DAW Focus mode, analogue level control of stereo channels can be assigned to the V-pots by 
pressing the CHANNEL switch, to the left of the Focus button. This allows 'In-Line'-style signal control but with the 
monitor mix being created using the DAW digital mixer. Pressing the V-pot will then cause the functions of the V-pot 
and fader to be swapped. 

948: In In-line Channel Modes, the V-pot adjusts the level for one of the channel paths, as explained on the following 
page. In Stereo mode, the V-pot becomes a balance control. The CHANNEL switch is still available for DAW control. 

Channel meters can be locked to either Focus mode by entering the Function Keys' Meters menu and selecting either 
DAWorAnl. 



AWS 924-948 Owner's Manual 



Page 3- / 



Analogue Operations 



The TFT Screen 

The centre section TFT screen provides access to a number of console configuration items, in addition to its primary role 
as plug-in editor. 

The 16 boxes at the base of the screen indicate the functions assigned to the 16 buttons in two rows of eight below the 
screen. 

The four boxes above them indicate the functions assigned to the central four buttons in the row of six. Note that the two 
outside buttons are used for scrolling left and right, where relevant. 

The picture below provides example illustrations of how the screen and controls relate. 

To change a setting, use the left hand V-pot ( [ I J ) to select the item, then press the V-pot to enter adjustment mode. 
Turn the V-pot to the desired setting and press it a second time to save the setting to non volatile memory. 




Note that a VGA output on the back of the console allows the console's screen to be displayed on an external monitor. 
See Section I for details. 



Page 3-2 



AWS 924-948 Owner's Manual 



Analogue Operations 



Channel Modes (948 Only) 



When in Analogue Focus mode, the AWS 948 channel strips can operate within a number of different Channel Modes, suiting 
a variety of operational contexts. The two channel paths within the channel strips may control any of the following: 

- A mono or stereo input signal, for basic tracking. 

- An input signal and monitor return from the DAW, for more complex ('in-line') recording and overdubbing. 

- An input signal plus additional FX sends, for mixing sessions with complex effects configurations. 

- Two independent input signals, for mixing up to 48 stems. 

Modes are selected using the Function keys in the left-hand side of the centre 
section (shown right). The channel mode options are displayed in the bottom 
row of softkeys when none of the top row of switches are selected. 

The channels to be configured are selected by pressing one or more channel 
strip SEL keys, or globally using the ALL Function key. 

The default mode is In-line Mix. Press TRK to activate In-line Track mode. Press ST to activate Stereo mode. The switches 
light to indicate In-line Track and Stereo mode. Note that the TRK and ST buttons are inter-cancelling. 



isa isa ei 


WPTWWJ 


METEfteH WISC 1 


TRK ST SET ALL ISO OdB 




■ ■ ■ 


■ 


■ " 



To use a mono channel configuration for basic tracking, simply return to In-line Mix mode and ignore the 
secondary channel path. 

When in either In-Line modes, the RETURN switches (near the pan pots in the channel strips) are 
unselected, meaning that the secondary path is sourced from the primary path. Press RETURN to switch 
the monitor path to the external signal. The RETURN LED lights to indicate it is active. 

When the SET Function key (next to the ALL Function key) is selected, pressing any in-channel non- 
latching switches (such as the RETURN switch) will cause that switch to activate in all selected channels 

The mode and its basic signal path are indicated in the console TFT screen when the SSL > Chan softkey 

is pressed. The LEDs below the in-channel RETURN switch also indicate the mode, as indicated in the summary table 

below: 




Mode 


Activation 


Indication 


Path 1 


Path 2 


In-line Mix 

extra send 


TRK and ST Function keys and 
Channel Return all off 


Channel IN LINE LED is green, 
no Function keys light. 


Channel 
return 


Extra 
send 


In-line Mix 

extra input 


TRK and ST Function keys off, 
press channel Return switch 


Channel IN LINE and RETURN 

LEDs are green, no Function keys light. 


Line L/Mic 


Line R 


In-line 
Track 


Select TRK Function key 
(Channel Return switch off) 


Channel IN LINE LED is red, 
TRK Function key lights. 


Line L/Mic 


Channel 
Output 


In-line 
'Playback* 


Select TRK Function key and 
channel Return switch 


IN LINE is red, RETURN is green, 

TRK Function key lights. 


Line L/Mic 


Line R 


Stereo 


Press ST Function key 


Channel STEREO LED is yellow, 

ST Function key lights. 


Line L 


Line R 



AWS 924-948 Owner's Manual 



Page 3-3 



Analogue Operations 



Chan Setup ^ 


Inline Trk Chan 12 




^HcHO^i 


IcHjJEQ 

| MON J 


j INS jj DYN j 


J C-ST |J FX 1 j 
Icue F-Monl 


| B TOLf 1 

| FX2 H 


| Auto-M ] 


S-Cue 


-Hi 


| DAW | SSL | 


| Proj | TR 


| Auto | Inks | 


| Misc | Chan 


| EQ | INS 


| DYN | C-ST | 


| FX1 | FX2 


1 TRK 1 



Channel Configuration (AWS 948 Only) 

There are a number of routing and processing options for any channel with an In-line mode, accessed using the TFT screen. 
The 16 boxes at the base of the screen indicate the functions assigned to the 16 buttons in two rows of eight below the 
screen. 

The VGA connector on the bock of the console allows the console's screen to be displayed on an external monitor. See 
Section I for details. 

With the channel's SEL button enabled, activate the on-screen 
SSL button, followed by the on-screen Chan button. A basic 
graphic of the channels' signal chain will appear in the screen, 
with the primary channel path's chain displayed in red, and the 
secondary channel path's chain in green. 

The components of the signal path (signal processing units, 
routing sources and destinations) are shown as coloured boxes 
along the chain graphic for the path they are currently in. If a 
component can be switched between paths, there will be a grey 
box in the other chain graphic, mirroring the position of the 
component within its current path. Use the bottom row of 
buttons to toggle these elements between paths. 

The left-hand box in each row indicates the currently selected 
input to that channel path. EFX assignments are indicated by 
the Track bus (TRK) coming off the side of the send assigned to EFX. 

Note that these screens are only concerned with the distribution of the displayed components between the channel 
paths, and do not indicate processing order or secondary path source selection. 

The Channel Setup screen provides further configuration options to specific Channel Modes: 

In-line Mix 

CUE F-CH: In In-line Mix mode the CUE ST pan pot controls pan for the Monitor path whenever it is routed to a 
stereo bus, or to a track bus with Pan selected, and the Cue pan follows the main channel pan. Select Cue F-Ch (Cue 
Follows CHannel pan) to force the Cue Pan to always follow the main Pan control. 

EFX CHOP: (Only available when EFX is active) Switches the channel's EFX send from the Track bus to the Channel 
output. The CHOP PRE/EFX LED in the channel strip lights green to indicate that the channel output has been assigned 
to the EFX. 

When in 'send' mode (with the in-channel RETURN switch not selected), the bottom-left button in the set of 16 toggles 
the source for the secondary channel path between PRE and POST fade - the default is POST. 

In-line Track 

Auto-M takes control of the RETURN switch to provide automatic monitor source switching between the channel 

paths, following the DAW transport status. The monitor path is heard in Play, and the input path is heard in Record or Stop. 

S-Cue employs automatic cue send source switching between the channel paths, following the DAW transport status, to 
provide full zero latency drop-in and record monitoring, a sum of both paths is heard in Play and only the input is heard 
when in Record or Stop. 

Cue F-Mon: In In-line Track mode the CUE ST pan pot controls pan for the Channel path whenever it is routed to a 
stereo bus, or a Track bus with Pan selected, and the Cue pan follows the main channel pan. Select Cue F-Mon (Cue 
Follows Monitor path) to force the CUE ST bus to always follow. 

EFX CHOP: (Only available when EFX is active) Switches the channel's EFX send from the Track bus to the Channel 
output. The CHOP PRE/EFX LED in the channel strip lights green to indicate that the channel output is being fed by 
the EFX. (AWS 924 EFX CHOP - See section 3.9) 



Page 3-4 AWS 924-948 Owner's Manual 



Analogue Operations 



Channel Strip 



Note that throughout this section, where the 924 and 948 differ, the 924 channel strip is shown on the left and the 
948 on the right Text specific to one model is framed in a blue box with the model name at the top. 



Overview 

AWS 924 



AWS 948 



REC: DAW channel is in Record Ready; EDIT: channel is assigned to the plug-in editor. 

See Section 4. 



Channel meters and peak lights, showing analogue levels or DAW levels depending on console Focus mode. 

See Page 3-6. 



Track bus routing and source selection: Pre-fader (PRE), post-pan (PAN) or post fader (neither) 

See Page 3- 1 0. 



Dynamics assignment: Press I or 2 (either for Stereo channels) to assign available compressors. 
Compressor source is post EQ; IP or OP move it to begninning or end of chain. 

See Page 3-6. 



Input section 
See Page 3-5. 



EQ section 
See Page 3-7. 



Cue and FX sends. Press pot to activate, 
hold ALT/EFX Sel and press potto switch between odd/even sends or EFX. 

See Page 3-9. 



Channel pan and routing buttons for Mix and Rec busses. 

See Page 3-11. 



RETURN enables 48-chan mixing 



V-Pot, plus solo and cut switches. Control either DAW channel or console channel, 
depending on the console Focus mode. Press V-pot to operate V-sel switch. 

See Page 3- 1 2. 



Channel display, showing a variety of DAW and console information. 
See Page 3-11. 



SEL switch, selects channel for editing in DAW or centre section, depending on console Focus 

mode. Also used as a Record Ready switch and Plug-in Edit selectors. 

See Page 3- 1 2. 



Channel solo and cut switches for DAW or console channel, depending on the console Focus mode. 

See Page 3- 1 2. 



Channel fader. Controls either DAW channel or console channel, depending on the console Focus mode. 

See Page 3- 1 2. 



AWS 924-948 Owner's Manual 



Page 3-5 



Analogue Operations 



Input configuration 



AWS 924 

Switch between the Mic and Line inputs by pressing FLIP. 
The LED next to each knob lights to indicate it is selected 
(red for Mic, green for Line). The INST switch selects a 
IMQ high impedance input (6.35mm jack), suitable for 
sources such as guitars. 

Adjust the input level using the MIC 
(+l2dB to +75dB) or LINE (±20dB, 
notched at OdB) pot. The INST input is 
controlled via the MIC pot. 

In addition there are switches for phase 
reverse (0), 48V phantom power and 
a 20dB PAD. 




AWS 948 

Switch the primary channel path's input between Mic or 
Line by pressing FLIP. The LED next to each knob lights 
to indicate it is selected (red for Mic, green for Line). The 
right (or monitor) channel path's input has no input 
selection as it is always fed from the same connector when 
it is active. If Stereo mode is selected, the inputs are 
automatically set to Line. 

Adjust the input level using the MIC 
(+l2dB to +75dB) or LINE (±20dB) 
pot. When in stereo mode, both legs of 
a stereo line input are adjusted by the 
LINE control. In in-line mode, the 
monitor path's input is always at unity 
gain. 

There are switches for 48V phantom power and a 20dB 
PAD. Inputs to both channel paths have phase reverse 
switches - L0 acting on the left or primary channel path 
input, and R0 acting on the right or monitor path. 




Channel Meters 

The 12-segment peak meters at the top of the meter bridge indicate the post-input-trim signal level. Mono 
signals use the left hand bargraph. The OVER indicators light red when the level reaches +24dBu. 



AWS 948 

Stereo signals use both meters. In In-line modes, the primary channel path signal is shown on the left 
and the secondary on the right. 



The bottom segment lights permanently in Analogue Focus mode, to provide clear indication that the 
analogue signal, not DAW information, is being displayed. 

Dynamics 

Any channel can make use of the two compressor/gate modules housed within the AWS centre section. 

Press the I or 2 switch in the bottom right-hand corner of the meter bridge to insert one of the two 
centre section compressor/gate processors into the channel path. For stereo channels, pressing either 
button will insert both compressors. These are non-latching buttons that will only function if the selected 
processor is not already assigned. 




924 and 948 



The dynamics are normally inserted post EQ, pre insert. Press the IP switch to place them at the start of the processing 
chain, or OP to place them at the end. 

See Page 3-22 for details of how to operate the compressor/gate. 



Page 3-6 



AWS 924-948 Owner's Manual 



Analogue Operations 



Filter 

The filter and EQ are both switched in using the EQ IN switch ( [ I J ). 

Turning the HPF pot up from minimum then activates the filter (l8dB/Octave high pass). The EQ IN LED 
is off when inactive, lights red when the EQ is in circuit but the filter is inactive, and lights green when the 
filter is active. 

Equalizer 

The EQ is activated using the EQ IN switch ( [ I J ). 

The EQ IN LED lights when the EQ is in circuit. Each band has a gain control pot labelled dB (±20dB of 
gain, notched at OdB), and a frequency control with the following ranges: 



LF: 


40Hz 


600Hz 


LMF: 


200Hz 


2kHz 


HMF: 


600Hz 


7kHz 


HF: 


1.5kHz 


22kHz 



HPF 

"■&■: 

HV = j 

o 



Q 



L* . ' . 

a 

IB 


^M SELL 



^V hit 

s 

H JbLL 



High (HF) and low (LF) bands default to a shelve shape. Press each band's BELL button 
to switch to a fixed Q parametric shape. 



BE 

tedl 3 • 
[l j 



948 



High-mid (HMF) and low-mid (LMF) bands are parametric, adjust the Q between 0.2 and 2 using each 
band's Q pot. 

G-EQ ( [ 2 J ) toggles the EQ shape between E-Series and G-Series EQ curves and control interaction. 

The difference between E-Series and G-Series EQ is as follows: 

E Series The bell curves are steeper sided and there is no overshoot on the shelf curve. E Series EQ is 
more aggressive and is therefore better for removing problem frequencies. 

G SeriesThe bell curve has a more rounded shape at low gains and the shelf curve overshoots zero 
slightly at the base of the curve. G Series EQ is more subtle and is often considered particularly suited to 
instruments and vocals. 

With the gain at maximum boost or cut both curves are identical. 



924 




AWS 948 

The upper G-EQ switch operates on shelving bands and the lower on parametric bands, as indicated by the symbols to 
the right of the switches. 

The EQ can be switched between channel paths in the Channel Setup screen described on Page 3-4. 



AWS 924-948 Owner's Manual 



Page 3-7 



Analogue Operations 



Insert Point 



To switch the channel insert into circuit, press the INS IN switch ( 3 in the pictures on the previous page) in the 
centre of the EQ section - the LED to its left lights yellow to indicate that it is active. Press PRE to place the insert 
immediately before the EQ in the processing chain. 



AWS 948 

When in Stereo channel mode, the insert send and return is stereo. In In-line modes, the left insert connections are used 
for the primary channel path and the right connections for the Monitor path. The active insert is then selected via the 
Channel Setup screen, described on Page 3-4. 



Signal Processing Order 

The table below lists the processing order possibilities and the button combinations which accomplish them. The buttons 
involved are the IP and OP switch in the DYNAMICS area of the meter bridge, and the insert's PRE switch, located 
above the INS IN switch mid-way down the EQ section: 



Processing 


Order 








Active Switches 


EQ 


> 


Dynamics 


> 


Insert 


No routing switches active 


Insert 


> 


EQ 


> 


Dynamics 


PRE 


Dynamics 


> 


EQ 


> 


Insert 


IP 


Dynamics 


> 


Insert 


> 


EQ 


IP + PRE 


EQ 


> 


Insert 


> 


Dynamics 


OP 


Insert 
Insert 


> 
> 


Dynamics 
EQ 


> 
> 


EQ 
Dynamics 


OP + PRE (948) 
OP + PRE (924) 



Page 3-8 



AWS 924-948 Owner's Manual 



Analogue Operations 



Cue, FX and EFX Sends 

The area below the EQ controls the channel's send to the console's two stereo cue busses and four FX 
busses. Each channel can feed one of stereo cue busses and two of the FX busses (FXI or 3, FX2 or 4). 
Alternatively, the send controls for one of the busses can be assigned to the EFX system, which enables 
greater routing flexibility from the AWS channels by employing redundant auxiliary sends to control the 
level of the channel's feed to the track busses or direct output. 

To activate the Cue or FX sends, press on its gain pot (the ON LED to the pot's right will light) and turn 
up the gain. The Stereo Cue signal is normally sourced pre-fader - to move it to after the fader, press 
POST. 




AWS 924 

The stereo cue's blue pan pot can be used to pan the 
channel send to the stereo bus. 

By default, CUE A, FXI and FX2 are active. To switch from 
CUE A to CUE B, FXI to FX3 or FX2 to FX4, press the 
CUE B, FX3 and FX4 switches beside the relevant gain 
pot. 

To use any bus send control to feed the 
EFX system, press the EFX button beside 
the relevant gain pot. That gain pot will 
now allow you to adjust the level being 
sent to any active track busses or, if the 
EFXC Function key is active, the channel 
direct output. 

The EFX LED will light to indicate that 
924 EFX is active, and the DIRECT 

PRE/EFX LED lights green to indicate 
that the channel output has been assigned to the EFX. 

EFX is only available if the selected channel has a send 
assigned to the EFX system. 




AWS 948 

The stereo cue's blue pan pot can be used to pan mono 
channel sends to the stereo bus. In stereo mode, it 
becomes a balance control. FX busses receive a mono sum 
of the signal from a stereo channel. 

If the CUE LED is unlit, the stereo cue is following the 
main pan and the stereo cue pan pot is functioning as a pan 
control for the secondary channel path. The REC/MIX 
LED indicates the secondary path's routing to the REC and 
MIX busses, as described on Page 3-1 I . To return the pot 
to controlling the stereo cue pan, deselect CUE F-CH 
in the Channel Setup screen (as described on Page 3-4) and 
deassign the sending path from both MIX and TRACK 
buses, if PAN is selected. 

The ALT/EFX SEL switch below the FX controls allows 
you to cycle the Stereo Cue and FX sends between the 
main and alternative sends, and the EFX system: 

By default, CUE A, FXI and FX2 are active. To switch to 
the alternative sends (CUE B, FX3 or FX4 respectively) 
press and hold ALT/EFX SEL and press the relevant 
gain pot. The CUE B, FX3 and FX4 LEDs will light to 
indicate when they are active. 

With ALT/EFX SEL still held, a second press on the 
pot will activate the EFX system. That gain pot will now 
allow you to adjust the level being sent to any active track 
busses or, if EFX CHOP is selected in the Channel Setup 
screen, the channel direct output. 

The EFX LED will light to indicate that EFX is active. The 
CHOP PRE/EFX LED in the channel strip lights green 
to indicate that the EFX signal is feeding the channel 
output. 



When the SET Function key (next to the ALL Function key) is selected, pressing any in-channel non-latching switches 
(such as an FX activation switch) will cause that switch to activate in all selected channels 

Only one auxiliary send control from each channel may feed the EFX system. 



AWS 924-948 Owner's Manual 



Page 3-9 



Analogue Operations 



Direct Output 

By default, the channel direct output is sourced post-fader. To source it pre-fader, press the DIRECT PRE/EFX (948: 
CHOP PRE/EFX) switch, located above the CUE ST gain pot. 

Direct Outputs and EFX 

The EFX system allows redundant auxiliary send controls to be used to control the channel's send to the direct output. To 
employ EFX for any channel, select the auxiliary send control which is least likely to be needed in the channel (Stereo Cue, 
FXI or FX2), and assign it to the EFX system: 



AWS 924 

Press the EFX button beside the gain pot. The EFX LED 
will light and the selected gain pot will now control allow 
you to adjust the Channel output level. 

Press the EFXC Function key to switch the channel's EFX 
send from the Track bus to the Channel output. The 
DIRECT PRE/EFX LED in the channel strip lights 
green to indicate that the channel output has been assigned 
to the EFX. 



AWS 948 

Press and hold the ALT/EFX SEL switch below the FX 
controls and press the relevant gain pot twice. The EFX 
LED will light and the selected gain pot will now control 
allow you to adjust the Channel output level. 

In the Channel Setup screen, select EFX CHOP to 
switch the channel's EFX send from the Track bus to the 
Channel output. The CHOP PRE/EFX LED in the 

channel strip lights green to indicate that the channel 
output has been assigned to the EFX. 



Note also that only one auxiliary send control from each channel may feed the EFX system - 
is assigned to EFX within the same channel, it will replace the originally assigned auxiliary. 



if a second auxiliary send 



Track Bus Routing 



Channel signals can be routed to the track busses using the eight numbered switches immediately 
underneath the channel meters. By default, signals are sent post-fader. To source the send pre-fader or 
post pan-control, press the PRE or PAN switches beneath the track bus selection switches. When the 
source is post-pan, the odd-numbered track busses receive the left component, and the even-numbered 
busses receive the right component. 

Note that the Track busses are designed for external tracking and not for internal sub-grouping - they 
cannot be routed to the Mix and Rec busses. 

Track Busses and EFX: 

The EFX system allows redundant auxiliary send controls to be used to control the channel's send to the 
Track busses. To employ EFX for any channel, select the auxiliary send control which is least likely to be 
needed in the channel (Stereo Cue, FXI or FX2), and assign it to the EFX system: 



AWS 924 

Press the EFX button beside the gain pot. The 
EFX LED will light. Check that the EFXC 
Function key is not pressed, as this employs the 
EFX on the direct channel output, not the track 
busses. 



AWS 948 

Press and hold the ALT/EFX SEL switch 
below the FX controls and press the relevant gain 
pot twice. The EFX LED will light. Check that 
EFX CHOP in the Channel Setup screen is not 
selected, as this employs the EFX on the direct 
channel output, not the track busses. 




924 and 948 



The selected gain pot will now allow you to adjust the level being sent to any active track busses. 

Note that only one auxiliary send control from each channel may feed the EFX system - if a second auxiliary send is 
assigned to EFX within the same channel, it will replace the originally assigned auxiliary. 



Page 3-10 



AWS 924-948 Owner's Manual 



Analogue Operations 



REC and MIX Bus Routing 




924 



The Record and Mix busses are independent stereo busses which receive a post-pan, 
post-fader channel signal. To route channels to them, press the REC and/or MIX switch 

to the right of the channel pan pot ( [ I J ). The REC and MIX LEDs light to indicate 
that the route has been made. 



AWS 948 

For in-line signals, the REC and MIX switches operate on the channel path assigned 
to the main fader. Press on the V-pot below the REC and MIX to switch the main 
fader and routing switches between channel paths. 

The main REC and MIX LEDs indicate the routing for whichever path is normally 
assigned to the main fader in the current mode, and the REC/MIX LED next to the 
CUE ST pan pot ( f 2 1 ) indicates the other channel path. The REC/MIX LED 

lights red to indicate Record bus routing, green to indicate Mix bus routing and amber 
to indicate both routes. 



Panning, Width and Balance 




948 



The pan pot towards the bottom of the channel strip is used to adjust the stereo position of signals being sent to the Record 
and Mix busses, as well as to the Track busses when they are functioning in stereo (as explained on Page 3-10). 



AWS 948 

For stereo signals the pan pot functions as a width controller with normal stereo image in the centre. When the pan pot 
is turned to the right an out-of-phase left component is introduced to the right signal, and vice versa, resulting in a widening 
of the signal's width beyond the speakers. When the pan pot is turned left in-phase components are introduced to the 
opposing component in a similar way, resulting in a narrowing of the width with fully left being mono. 

Stereo signal balance is controlled using the V-pot just above the channel's digital display - pressing the V-Sel resets the 
b alanc e to OdB. Note that stereo mode is indicated by the STEREO LED to the left of the PAN/WIDTH label 
( f I 1 in the image above-right). 

For in-line signals, the main channel pan pot operates on the channel path normally assigned to the main fader in the 
current mode. When the Channel Setup screen CUE F-CH (Cue Follows CHannel pan) button is active (See Page 3-4), 
or the sending path is feeding a stereo bus, the CUE ST pan pot beco mes t he pan control for the secondary channel path 
- as indicated by the CUE LED to the left of the CUE ST pan pot ( I 2 1 in the image above-right) being unlit. 



AWS 924-948 Owner's Manual 



Page 3-1 1 



Analogue Operations 



Scribble Strips 

Channel Display 

The channel display functions as a digital scribble strip. It displays the analogue channel name when in Analogue Focus mode, 
as defined in the Remote Browser. In DAW Focus mode, it displays the name of a DAW track, selected send, or I/O data 
according to the function currently assigned on the Master Control Panel. 



AWS 948 

When in an In-line mode, the upper row of the digital scribble strip displays any name associated with 
the channel path assigned to the V-pot, and the lower row displays any name associated with the channel 
path assigned to the channel fader. 



See Section 4 for more information on DAW control, and Section 5 for more information on editing channel 
names in the Remote Browser. 



Chinagraph Scribble Strip 

The channel strip provides a traditional scribble strip - use it for scribbling on. 



1 SEL 1 


SOLO 


1 CUT 1 



Channel Selection 

The SEL button is used for assigning the channel to the centre section for certain set-up procedures. 

A contiguous range of channels can be selected by pressing and holding the SEL button for the lowest 
channel in the range, then pressing the SEL button for the highest channel. To select all channels, use the 
ALL softkey which appears in the lower row of the Function keys when no upper Function key is selected. 

When the SET Function key (next to the ALL Function key) is selected, pressing any in-channel non- 
latching switches (such as the FX activation switches and RETURN switch) will cause that switch to 
activate in all selected channels. 

SEL buttons are also used for selecting channels in the DAW or for record-readying DAW tracks. See 
Section 4 for more details. 



Cut and Solo Switches 

The CUT and SOLO switches below the digital display allow the signal assigned to the fader to be muted 
or soloed. Similarly, the CUT and SOLO switches above the digital display allow the signal assigned to 
the V-pot to be muted or soloed. 

CUT switches work on all post-fader sends by default. However, it is possible to configure them to mute 
pre-fader sends as well. This is done using the Input Cut Enable option in the TFT screen's Console 
Setup menu, described on Page 3-28. 



924 and 948 



AWS 948 

The solo-in-place function of the two channel paths can be linked together using the LNSL Function key, described on Page 
3-15. 



The solo function can be configured via the AFL/PFL Function keys, as described on Page 3-20. 

Solo Isolates 

To prevent any channels from being muted when a SOLO switch is pressed, select the AFL/PFL Function key followed 
by the ISO softkey which appears beneath it, then press any SOLO switches which you wish to isolate from the Solo 
function. Selected switches will flash (along with the ISO softkey). When all the required channels have been solo isolated, 
deselect the ISO softkey. See Page 3-20 for more details regarding AFL/PFL Function key operations. 



Page 3-12 



AWS 924-948 Owner's Manual 



Analogue Operations 



Level Control 

The 1 00mm fader at the bottom of the channel strip controls the channel send to the Rec and Mix busses, 
as well as any other sends which are operating post-fader. 

Note that in DAW focus mode, this function can be assigned to the channel V-pot by pressing the 
CHANNEL button in the centre section. 



AWS 948 

The channel fader controls both components of a stereo signal. The relative level of the components (the 
balance) can be adjusted using the V-pot. 

For In-line Track mode, the main fader controls the secondary channel path (monitor path), and the 
V-pot controls the primary channel path. In In-line Mix mode the channel fader controls the primary 
path and the V-pot the secondary path. The controls can be flipped between channel paths by pressing 
on the V-pot. 



Selected Faders can all be set to OdB using the Function keys: with none of the upper row of buttons 
selected, press the OdB softkey in the bottom row. 

The analogue faders can be automated using SSL's automation system, or using A-FADA which allows 
your DAW automation to control the analogue faders. When in DAW Focus, the fader is used to control 
the track fader within the DAW. 

See Section 4 for more information on DAW control, and Section 7 for more information on SSL automation 
and A-FADA. 



924 and < 



AWS 924-948 Owner's Manual 



Page 3-13 



Analogue Operations 



Bus Meter 
Panel 




Oscillator 

and 

comms 

levels 



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Foldback and 

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controls 



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and 

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Master fader 



Rec/Mix bus 
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Comms 
controls 



Page 3-14 



AWS 924-948 Owner's Manual 



Analogue Operations 



Centre Section 

Introduction 

The console's centre section is used to control the console busses, dynamics, monitoring and overall configuration. It also 
provides access to a number of DAW control elements which are covered in Section 4. 

Power Supply Indicators 

Beneath the VU meters, on the main control surface, you will find a row of four LEDs that display the current state of power 
rails within the console. The ± 1 5 Volt and the +4 Volt supplies are for analogue audio and logic circuitry respectively. The 
+ 12 Volt supply provides power for the faders and some relays. All LEDs should be lit whenever the console is powered 
up. If any are unlit, please call your technical department! If you don't have one, please refer to the maintenance information 
in the appendices of this manual. 

Function Keys 

A number of console elements are configured using the Function keys, located 
in the top right quarter of the monitor panel. The top row of buttons assign a 
subset of softkeys to the lower row of buttons. The display indicates the 
function assigned to the lower row. Frequently, the lower softkeys are also 
submenus, opening up a further set of softkeys in the lower row of buttons. 

When none of the upper row of keys are selected, the following functions are applied to the lower softkeys: 

ALL Activates the SEL key on all channel strips. 

SET Groups the controls of all channels with their SEL key activated. With SET enabled, pressing any momentary 

switch on any selected channel will cause the switch action to be replicated across all selected channels. 

OdB Sets selected faders to OdB 






AWS 924 


AWS 948 




EFXC 


(Only available when EFX is active) Switches 


TRK 


Toggles all selected channels between In- 




the channel's EFX send from the Track bus 




Line Mix and In-Line Track mode. 




to the Channel output. The DIRECT 
PRE/EFX LED in the channel strip lights 
green to indicate that the channel output has 


ST 


Toggles all selected channels between mono 
and stereo configuration. 




been assigned to the EFX. 


LNSL 


Links the solo-in-place functions of the two 
channel paths in In-line modes. 



AWS 924-948 Owner's Manual 



Page 3-15 



Analogue Operations 



Monitoring 



Turn the large blue pot below the MONITOR LEVEL to set the level of the main control room monitors. For fine 
level adjustments, push down on the monitor pot before turning. The display above it will display 'Fine' mode. 

The monitor pot is also used to control other miscellaneous levels: 



s 



Press any of the column of six MISC LEVELS switches to the right of the monitor pot, and then use the monitor 
pot to adjust their level. Deselect the MISC LEVELS switch to return to main monitor control. 

To immediately silence the monitors, press CUT (below the monitor pot). 

To immediately reduce the monitoring level, press DIM. The amount of gain reduction is adjusted by pressing the DIM 

button at the top of MISC LEVELS and turning the monitor pot. 

The DIM function is automatically activated by any of the following COMMUNICATIONS buttons: LISTEN, TB ALL, 

F/B A, F/B B, EXT T/B; or by the Oscillator's TRACK, REC or MIX buttons. 



HSBISB 



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To solo or mute an individual component of the monitoring, use the MONITOR MUTE/SOLO buttons above 
the monitor pot. These buttons are cut switches by default. To use them as solo switches, select SOLO at the top 



of the MON MODE buttons Q . 



H 




Select the speakers on which to monitor using the LS SELECT buttons: ALT 5.1 ('Main B'), MINI A or MINI 

B. The Main 5.1 speakers ('Main A') are active when no others are selected. Control the relative level of the mini 
speaker outputs using the main monitor pot by selecting MINI in the MISC LEVELS buttons. 

To select the monitoring source, use the MON SRC buttons. These include the Record (REC) and Mix bus (MIX), 
and two external source selectors, EXT A and EXT B. Sources will be intercancelling unless the SUM button is 
selected. All sources are stereo except those brought in via the EXT A monitor source selector (see next page). 



HTo select what the control room headphones hear, press the PHONES buttons: The control room monitors (CR 
MON), the foldbacks (FB A or FB B), or nothing (CUT). This headphones level is set by pressing PHONES in 
the MISC LEVELS buttons and turning the monitor pot. 

MON MODE buttons PH 

Ordinarily, the console monitoring is 5. 1 -enabled, connecting all six monitor busses to their respective monitor outputs. 
With DOWNMIX selected, 5.1 inputs are folded down to the monitor path via a 5-2 matrix and fed to left and right 
monitor outputs. The centre channel is reduced in level by 3dB and fed to both left and right in this mode. When a MINI 
speaker output is selected, DOWNMIX is automatically activated. 

MONO sums the left and right monitor busses, feeding the result to the left and right monitor outputs. The 0L button 
reverses the phase of the left monitor feed, providing a quick way of checking for any phase anomalies in a stereo mix. 

SOLO turns the monitor cut buttons ( [ 4 1 ) into monitor solo buttons. 

The SOLO CLEAR button lights when a channel SOLO or centre section AFL is active. Press it to clear all solos. 



Page 3-/6 



AWS 924-948 Owner's Manual 



Analogue Operations 



Monitor Configurations 

External Source Selectors 

The EXT A and EXT B monitor source selectors in the monitor panel (I 6 in the picture on the previous page) can 
switch between a number of inputs. 

EXT A has four external 5. 1 inputs which may be fed by any source of six channels or less, with Track busses 1-6 providing 
a fifth input. EXT B has four external stereo inputs, plus a fifth encoder return input, selected via the INS button in the 
MONITOR OPTIONS Function key submenu, (see below) 

Sources from both External selectors may be summed together; this is particularly useful for generating complex foldback 
mixes or when stem mixing, as it allows the recorded stems to be monitored together with the current mix. 

To select the external sources feeding the monitor panel's source selectors 
press either the EXT A or EXT B Function key (shown right) and select a 
source from those which appear in the bottom row of the Function key display. 
To sum any external sources within each Selector press the SUM Function key 
before selecting sources. The source (or sources) can now be routed to the 
monitors using EXT A or EXT B in the MON SRC buttons f 6 I- 

Selecting LTR in the EXT B Function Keys provides monitoring for an encoder's LtRt output - see next page. 
Note it is possible to rename the consoles 'External Sources'. Please see Section 5 for further information. 

Monitor Options 

A variety of monitoring options are accessed via the MONITOR OPTIONS Function keys: 




Q H| El El n Q 


laooaaai 



INS This switches the encoder/decoder insert into the monitor path 

for use with 5.1 monitor sources selected via the EXT A 
monitor selector, or stereo sources via EXT B. (see above) 

PFM This routes the PFL signal to the Mini A loudspeakers. In this 

mode the PFL level is controlled by the PFL level control only - 
the Monitor and Mini level controls have no effect. 

SRA Both sets of Main speaker outputs are capable of handling six channels. If you are mixing in 5. 1 and the client 

turns up with an alternative set of 'front' (LCR) speakers only, the surround feeds may be locked to the Main 
A outputs by selecting the SRA (Surround on A) function. This allows you to switch to the alternative LCR 
speakers, connected to the Main B output, and still maintain full surround monitoring. A further option (A2B 
- see next page) enables the subwoofer output to be included in this arrangement. 

LRA Similar to the SRA function except that the LCR monitor feeds are locked to the Main A outputs but an 

alternative set of surround speakers may be selected by switching to the Main B output. This can be useful in 
rooms that work on both music, using full bandwidth separate surround speakers, and film using multiple 
lower powered surround speakers. 

CAL and BASS are described on the following pages. 



AWS 924-948 Owner's Manual 



Page 3-/7 



Analogue Operations 



Monitor Insert 

The External A selector (ie all 5. 1 sources) output is automatically routed via a 5. 1 insert point to which an encoder/decoder 
system may be interfaced; this insert may be switched in/out of circuit using the INS softkey in MONITOR OPTIONS. 
The insert point also has connections for the two channel output from the encoder and the input to the decoder. These 
allow monitoring of the encoder output ('LtRt') signals and provide automatic routing of the External B selector outputs to 
the decoder inputs for playing back encoded recordings through the decoder. The logic for this is as follows: 

• With no sources selected on External B the encoder outputs are linked to the decoder inputs. 

• Selecting any source on External B will route the External B outputs to the decoder inputs. 

• Selecting EXT A and INS will monitor the insert return; if no source is selected on External B you will hear the 
External A signals through the encoder and decoder. If a source is selected then you will hear the decoded output 
of External B. 

• Selecting EXT B and INS and selecting a source on External B will monitor External B. 

• Selecting EXT B and INS with no source selected on External B will monitor the LtRt encoder outputs. The LTR 
soft key lights to show this. Note that LTR is selected by turning off all other External B sources. 

Bass Management 

Selecting the BASS softkey in MONITOR OPTIONS produces a layer of 
bass management options: 



in u mi bi ■ di 



80H 



Inserts a 7th order, 80Hz, low pass filter into the LFE monitor 
bus, to deal with listening to 5. 1 material that has a full range, 
unfiltered, LFE channel. 



WTW 



BMN 



LFO 



Turns on the Bass Management system. This is designed to extend the low frequency response of the 
monitoring system, and to simulate the 5. 1 monitoring systems in TV and domestic environments. It inserts 
1 2dB per octave, 80Hz high pass filters in the L, C, R, LS, RS monitor outputs, and feeds a mono sum of these 
five outputs to an 80Hz, 24dB per octave, low pass filter, which is summed with the LFE monitor bus. Post 
this summing point, the combined signals feed via a 10Hz subsonic high pass filter before reaching the 
subwoofer monitor output. These are the default filter slopes. Internal links (see appendices for details) allow 
them to be set to 1 2dB or 24dB per octave and to select whether or not the surround channels are included. 

Note that this option is stored separately for each set of speaker outputs (like the level calibration), so it is 
possible to have Bass Management enabled on one set of speakers and not on others. 

Normally, the LFE bus level is increased by lOdB post the main monitor level control, as this is a requirement 
for DVD playback. If you are mixing for SACD, or any other format that requires unity gain on the LFE 
channel, select LFO to restore the LFE bus level to unity gain. 



Selecting NEXT produces a second layer of options: 

A2B Retains use of the Main 5. 1 subwoofer, even when you switch to 

the ALT 5. 1 loudspeaker selection. 

BMA Uses the Alt 5.1 subwoofer instead of the main subwoofer for 
bass management when MINI A is selected and BMN is on. 

BMB Uses the Alt 5.1 subwoofer instead of the main subwoofer for 

bass management when MINI B is selected and BMN is on. 

Pressing RTRN returns you to the top layer of the MONITOR OPTIONS selection. 











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Page 3-18 



AWS 924-948 Owner's Manual 



Analogue Operations 



Monitor Level Calibration 

The monitor calibration system enables the level of any loudspeaker connected to the AWS to be trimmed by ± I OdB. Note 
that with the monitor gain at maximum a trim level of + 1 OdB corresponds to unity gain through the monitor section. 

Do not attempt to carry out loudspeaker calibration unless you have accurately calibrated test equipment. 

Locate the console oscillator (above the TFT screen), press OSC ON and select the PINK ON 
button; the default level for the console's pink noise output is +4dBu RMS. This calibrated level can 
be adjusted using the 'Pink' trim pot below the Level control. 

Set the monitor level control to the position you wish to correspond to the calibrated level. A level 
of 8.5 will provide I OdB of additional gain in hand. 

Now select the monitors to be calibrated using the LS SELECT buttons in the monitor panel. 

Select CAL in the first layer of MONITOR OPTIONS. Pressing either AL, 
AR or AC will send pink noise to the Left, Right or Centre loudspeaker 
respectively. 

Adjust the level for the required SPL (eg. 85dBa C weighting, slow response, on 
a suitably calibrated dB meter), by turning the main monitor pot left or right 
from its initial position. 

Now work through the rest of the speakers (see below), checking before you calibrate the LFE output whether the LFO 
option (see previous page) is off or on. 




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Selecting NEXT produces a second layer of calibration options: 

Selecting ALS, ARS or ALF allows you to trim the Left Surround, Right 
Surround or LFE channels respectively by ± I OdB, using the method described 
above. 

LFG (Low Frequency Gain) allows the gain of the contribution from the full 
bandwidth channels to the subwoofer output to be adjusted. Like all the speaker 
calibration settings it must be set for each set of speaker outputs (assuming 
bass management is in use): 

Having lined up the six main speakers, select LFG. All speakers will initially be muted, and the six monitor cut buttons will 
light. Un-cut the left output and with the bass management turned on (note that the BMN selection in the BASS menu 
is duplicated in the CAL menu) adjust the LFG gain for a flat low end response. Cut the left output, un-cut the right output 
and check this has a flat low end response. Repeat for all channels. Depending on how well matched the monitors are you 
may have to adjust the LFG gain slightly. 

Note that when LFG is on, the LFE monitor output is always cut. This does not mute the actual subwoofer output, only 
the LFE signals feeding it. This ensures that you are only measuring the contribution from the bass management system. 



AWS 924-948 Owner's Manual 



Page 3-/9 



Analogue Operations 



Monitor Level Display and Calibrated listening level 

Further monitor calibration options are accessed via the TFT screen. The 16 boxes at the base of the screen indicate the 
functions assigned to the 16 buttons in two rows of eight below the screen. Press the SSL button, followed by MISC > 
SETUP and locate the following options in the list: 

Monitor Gain Display: Music (Off to I I) 

Film(Offto95dB) 

Gain (Off to OdB) 
Monitor Set CAL level is: 70 - 90 

Furthermore it is possible to change the Monitor Level pot's resolution between 'Fine' and 'Large' in 'Music' or 'Gain' modes 
by pushing down on the pot. The display above it will show which mode it is in. 'Fine' mode makes adjustments in 0. IdB 
steps while 'Large' mode adjusts the value in 0.5dB steps. 

When working in 'Film' mode pushing down on the Level pot will adjust the monitor volume to the user defined calibrated 
level selected in the SSL > Misc > Setup menu. Normal selection here would be the international recognized 85dB but 
it is possible to set a range from 70dB to 90dB. It is recommended that you use a SPL meter to calibrate your studio's 
monitoring level to match that displayed on your Monitor Level display. 

The monitor gain that corresponds to +85dB SPL can be set by adjusting the main monitor level control to give an SPL of 
85dB, then pressing the 85dB switch in the first CAL page within the MONITOR OPTIONS Function keys. 

Note that if you make a change to this value in the Setup menu while running in Calibrated mode this change will not be 
reflected until you come out of Calibrated mode and re-enter it. You can tell which mode you have switched into as it will 
display either Cal for calibrated or UCal for uncalibrated. Bear in mind that switching to a calibrated level of 85dB may 
cause a significant increase in listening volume so take care not to damage your hearing and of course your loudspeaker 
monitoring system. 

The third Monitor Gain Display option, 'Gain', displays the volume in decibels, with a maximum value of OdB. All 
other values are reductions of this level through to 'OFF'. 



SOLO Configuration 



The console's default Solo mode is a destructive solo-in-place - soloing a channel cuts all other channels. The alternative 
solo modes - AFL, PFL and Solo-in-front are selected via the Function keys. Press the AFL/PFL button above the display 
to produce the following options in the lower row of softkeys: 



H H H H H H 


FHFH 


SIF II ISO [ALT MUM 


OQ 


OOOOI 



AFL Pressing a channel solo button routes the post pan signal, via the 

stereo AFL bus and the AFL level control, to the currently 
selected monitor speakers. 

PFL Pressing a channel solo button routes a mono pre-fade signal, via 

the PFL bus and the PFL level control, to the left and right Main 
monitor speakers. Optionally, PFL signals may be fed to the Mini loudspeakers - see PFM on Page 3-17. 

SIF (Solo In Front) Pressing a channel solo button routes a mix of the AFL signal and the selected left and right 

monitor sources to the monitor outputs. The SIF level control (see Page 3-16) adjusts the balance between 
AFL signal and desk output. 

ISO This allows you to solo isolate selected channels. 

ALT Makes channel solo buttons intercancel with each other, so that soloing one channel will clear any other solo 

selections. 

MOM This option makes all the channel solo buttons momentary. 



AWS 948 

It is also possible to link the solo function in the two channel paths by pressing the LNSL Function Key, in the bottom 
right of the Function keys when none of the upper Function keys are selected. 



Page 3-20 



AWS 924-948 Owner's Manual 



Analogue Operations 




Mix and Rec Bus Controls 

The console's stereo Record and Mix busses are mainly controlled using the master fader and bussing matrix towards the 
bottom right-hand corner of the center section. The meters for the busses are located immediately to the right of the right 
VU meter. The VU meters can be set to display either bus via the METERS Function keys. See Page 3-27 for more details. 

The matrix is used to activate and configure the bus inserts, dynamics and master fader. To access a matrix function: 

Hold down the button at the base of the RECORD or MIX column; Press the required 
button from the right-hand button column. The function symbol in the appropriate bus 
column will light to indicate it is active. To all intents and purposes, the bus signal flows 
through these facilities from top to bottom. 

Adjusting a master level 

To adjust the master level of either bus, hold the appropriate bus 
button and press the button in the row labelled FADER. This 
assigns the bus to the master fader to its right, allowing the level to 
be adjusted. The fader can control the level of both Record and Mix 
busses simultaneously but can only set the level for one bus at a 
time. The fader uses a 36-bit, Hi-Resolution MDAC. 

If required, a further I OdB of gain may be introduced by selecting the + 1 OdB function on the main 
bus select matrix. When selected, use the right hand scale on the master fader. 

Following the injection of talkback and tone, the main output busses feed XLRs on the centre 
section connector panel. 

Assigning Centre Section Dynamics 

To assign the centre section compressor/gate to one of the master busses, hold the appropriate 
bus button and press the button in the row labelled DYN. Both dynamics sections are employed 
- I for the left bus, 2 for the right. If the DYN symbol does not light, check that neither of the 
dynamics units is assigned to a channel. The dynamics sections are inserted after the insert point. 

Dynamics operation is described on the following page. 

Assigning the Stereo Compressor 

In addition to the dynamics section, the AWS features a new version of SSL's legendary G Series 
compressor; it is located above and to the right of the TFT screen. 

To assign the main stereo bus compressor to one of the master busses, hold the appropriate bus 
button and press the button in the row labelled COM P. 

Press the IN button to switch the compressor into circuit - the IN LED lights to indicate it is 
active. The meter at the top of the compressor indicates gain reduction in dB. 

Activating bus inserts 

The Record and Mix busses have balanced pre fade insert points. To switch the inserts into circuit, 
hold the appropriate bus button and press the button in the row labelled INS. 

The summing (£_) matrix buttons allow the insert return to be summed with the bus signal. This 
opens up a number of creative options - for example you can sum the output of another submixer 
or of your DAW with the console mix busses without using channels or you can process some 
signals via the Record bus, then sum the Record bus outputs with the Mix bus for further 
processing. 

The insert point is pre fader and compressor. 





AWS 924-948 Owner's Manual 



Page 3-21 



Analogue Operations 



Dynamics Operation 

While the Stereo Bus Compressor controls are self explanatory, the two compressor/gate sections require a word or two 
of explanation: 

The dynamics may be assigned singly or as a pair to any channel using the Dynamics I and 2 buttons on the channel meter 
panel. Alternatively, they may be assigned to the Record or Mix busses by means of the DYN function on the main bus select 
panel. In this case, Dynamics I is used for the left bus, Dynamics 2 for the right bus. 

The dynamics sections are located below the track bus meters. The compressor makes up the top half of each section, and 
the gate makes up the bottom half. Both compressor and gate use the same gain element. 

The IN button at the bottom of the gate switches the entire section in and out of circuit. 

The yellow and red LEDs indicate the amount of gain reduction the compressor section is applying. The green LEDs indicate 
the amount of gain reduction applied by the Gate/Expander section. 

The LINK button towards the base of the gate links the sidechain signal of that unit to the sidechain of the other dynamics 
section. The control voltages are then summed together, so that whichever section has the most gain reduction will control 
the other section. This is most useful when using both dynamics sections on a stereo signal. 

The KEY button at the bottom of the gate enables a dynamics section to be controlled by an external source signal. 

Compressor/Limiter Section 

RATIO: When turned to 1:1, the compressor/limiter section is inactive. Turning the control 

clockwise increases the compression ratio, giving a true limiter when fully clockwise. 



PK: 



The compressor normally has an 'over-easy' characteristic. Pressing PK switches this to 
peak sensing, and replaces the 'over-easy' characteristic with a hard knee. 



THRESHOLD: This controls the level at which the compressor starts to act. 

Automatic gain make-up is provided, to maintain a steady output level as you introduce more compression. 

FST ATK: Normally the attack time is program dependent (3ms - 30ms). Press this button to select 

a fixed fast attack time (3ms for 20dB gain reduction). 

RELEASE: Sets the time constant (speed) with which the compressor returns to normal gain settings 

once the signal has passed its maximum. 

Gate/Expander Section 

This section can act as an 00: 1 Gate, or as a 2: 1 Expander when the EXP button is pressed. 

RANGE: Determines the depth of gating or expansion. When turned to the gate is inactive. When 

turned fully clockwise, a gate depth of 40dB can be obtained. 

THRESHOLD: Determines the level at which the gate opens or below which gain reduction begins (EXP selected). 
Adjustable from + 1 OdBu to -20dBu. Variable hysteresis is incorporated in the threshold circuitry to prevent 
spurious triggering of the gate when the signal is close to the threshold level. This means that the signal 
has to decay roughly 2dB below the threshold level before the gate will start to close. 

FST ATK: Normally, a controlled linear attack time of 1 .5ms per 40dB is provided. Press this button to select a fast 

attack time ( I OOus per 40dB). The attack time is the time taken for the Gate/Expander to 'recover' once 
the signal level is above the threshold. When gating signals with a steep rising edge, such as drums, a slow 
attack may effectively mask the initial THWACK, so you should be aware of this when selecting the 
appropriate attack time. 

RELEASE: This determines the speed at which the Gate/Expander reduces the signal level once it has passed below 
the threshold, variable from 0. 1 to 4 seconds. Note that this control interacts with the RANGE control. 

HOLD: Determines the time after the signal has decayed below the threshold before the gate starts to close. 

Variable from to 4 seconds. 



Page 3-22 



AWS 924-948 Owner's Manual 



Analogue Operations 



Track Bus Master Controls 

The master output level controls for the eight track busses are located in the top right of the centre section. 
The Track bus levels are displayed in the eight meters in the lower left-hand quarter of the LCD metering 
above the bus master controls. 

The gain ranges from -°° to + 1 OdB and the pots are indented at the ' 1 2 o'clock' position, which corresponds 
to OdB gain. 

Following level control, the bus outputs can be injected with tone (using the Oscillator's TRACK switch 
- see Page 3-26) and talkback (using the talkback SLATE switch to the right of the shuttle wheel - see Page 
3-25) before being fed to the connector panel. 

An AFL function (post tone and talkback inject) is provided for each bus. Selecting AFL on a single track 
bus will route signal to both left and right AFL busses, whereas selecting it on odd and even numbered 
busses will route the odd numbered output to the left AFL bus and the even numbered output to the right 
AFL bus. 

Cue/FX Send Master Controls 

Each channel is fitted with one Cue Stereo and two mono FX controls for use as foldback or feeds to effects 
devices etc. The Cue Stereo controls in each channel may be routed to one of two busses - Cue Stereo A 
or Cue Stereo B. Similarly the FXI controls can be routed to either the FX I or FX 3 bus, and the FX2 
controls to the FX 2 or FX 4 bus. 

The output level controls for the Cue and Aux busses are located in the top right of the centre section (see 
right). The bus levels are displayed in the eight meters in the lower right-hand quarter of the LCD metering 
above the bus master controls, with the cue bus components labelled AL, AR, BL and BR, and the FX 
busses labelled I to 4. 

The gain ranges from -°° to + 1 OdB and the pots are indented at the ' 1 2 o'clock' position, which corresponds 
to OdB gain. 

An AFL function is provided for each output. Selecting AFL on a single track bus will route signal to both 
left and right AFL busses, whereas selecting it on odd and even numbered busses will route the odd 
numbered output to the left AFL bus and the even numbered output to the right AFL bus. 

Cue and FX bus injection 

In order allow external signals (such as a stereo sum of additional DAW channels) to be added to the Cue 
and FX sends signal without using up desk channels, bus inject connections are provided on the console 
connector panel for each Cue and FX bus. Signals brought in on these connectors are simply added to the 
Cue and FX busses at unity-gain, before the AFL function and output level control. 




AWS 924-948 Owner's Manual 



Page 3-23 



Analogue Operations 



Foldback Headphone Outputs 

The console's Foldback A and B outputs can be used to feed studio floor headphone amplifiers. The F/B A and F/B B 
controls are located immediately to the right of the TFT screen. 

At the bottom of each section there is a LEVEL control, plus CUT and AFL functions. 

The six switches down the right-hand side of each foldback section activate the sources which can be fed 
to the Foldback outputs. Note that these switches are not inter-cancelling - all six sources can be active 
simultaneously. 

The MIX I pot is used to control the level of the first two: the Record bus (REC) and External source 
selector B (EXT). The MIX 2 pot is used to control the level of the second pair of sources: the Mix bus 
(MIX) and External source selector B (EXT). The final two sources are the stereo downmix control 
room monitor signal (ST MON) and the Cue Stereo outputs (ST A or ST B), with Cue A going to 
Foldback A, and Cue B to Foldback B. 

Note that the Stereo Returns can also be added to the Foldbacks - see below. 




The F/B A and F/B B buttons in the COMMUNICATIONS section add talkback to the foldback outputs. 



Stereo FX Returns 

The console's four stereo FX Returns are designed to be driven by the outputs of devices which have been fed from the 
corresponding mono FX busses. 

At the bottom of each section there is a LEVEL control and AFL. The left and right components of the 
signal can be cut individually using the R CUT and L CUT switches - useful for checking reverb returns, 
and to defeat unwanted signals on the 'open' input when using mono returns. Stereo returns can be routed 
to the record and mix busses using the REC and MIX switches. 

The MONO switch sums the stereo return components together, routing a mono to all the destinations. 
Very useful when you are using a mono FX device, as it saves having to parallel return inputs. 

When MONO is inactive, the BALANCE control provides balance between the left and right return 
signals, and the WIDTH pot controls the width, from full stereo to mono. When MONO is activated, 
the BALANCE control becomes a pan control. 

Stereo returns can also be routed to the foldbacks using the FB A and FB B switches, with independent 
level control provided by the STUDIO pot. 




Page 3-24 



AWS 924-948 Owner's Manual 



Analogue Operations 



Communications 



SLATE^^^ ^^gi R^S 



Hi EH 03 pi 



The main communications controls (talkback etc.) are located to 
the right of the shuttle wheel at the bottom of the console (see 
left). 

There is a built-in talkback microphone ( I 7 J ) located in the 

utilities section above the TFT screen. 

Level controls for the communications are found here (see right). 

Note that a gain control for the talkback mic preamp is provided on the connector panel adjacent 

to the external talkback output jack. An external talkback mic may be connected to the console's 

talkback distribution circuitry via an XLR on the connector panel. When using this facility, turn the console mic preamp 

gain to minimum unless you want the console mic to contribute to the talkback system. 



UMwi sif-1. 


o 


niUtazk Out -*■■, Mi/. 



CD 

a 



The SLATE button interrupts the Record, Mix and Track bus outputs with talkback. The utilities section 
Slate pot controls the level of the talkback mic feed to these busses. 

The F/B A and F/B B buttons inject talkback onto Foldback outputs A and B respectively, after the level 
and cut controls. The utilities section TB to Foldback pot controls the level of the talkback mic feed to 
the Foldbacks. 



Note that the TB to FB option in the Setup menu defines whether talkback sums with or replaces the normal 
foldback signal. (See below) 



a 
a 



The EXT T/B button injects talkback to the external talkback send, via a 6.35mm jack on the connector 
panel. Talkback Out controls this level. 

An external 'listen' mic signal can be connected via an XLR on the centre section connector panel, and is 
usually placed in the recording area. The LISTEN button injects this mic signal onto the Mini A loudspeaker 
feeds, and dims the main loudspeakers. The LISTEN pot controls the mic level. 

The circuitry features SSL's legendary listen mic compressor, the sound of which is much loved by many 
experienced SSL users, and so the connector panel provides a post compressor output jack - 'Listen Mic 
Out'. 



Note that the SLATE button cuts the monitors, and the other talkback buttons dim the monitors. 



a 
a 



RED LIGHT provides an isolated contact closure for hooking up to a studio red light via an external relay 
box. This function can be fired from a GPI input. 

TB ALL feeds the talkback mic to the foldback sends and the external talkback output. 



Note: The talkback switch functions are all duplicated on the Talkback/GPIO connector on the rear of the console as 
are the monitor CUT and DIM switches. See Section 3 for more information. 



AWS 924-948 Owner's Manual 



Page 3-25 



Analogue Operations 



Communications Setup Options 

Further Talkback, Listen and Red Light communication options are accessed via the TFT screen. The 16 boxes at the base 
of the screen indicate the functions assigned to the 1 6 buttons in two rows of eight below the screen. Press the SSL button, 
followed by Misc > Setup and locate the following options in the list: 



Talkback switches are: 



Listen switch is: 



Red light switch is: 



TB switches disable Listen: 



TB to FB: 



Select the operation of the talkback buttons: Momentary / Latching / Auto 
(Play) / Auto (Record). 

Select the operation of the Listen buttons: Latching / Auto (Play) / Auto 
(Record). 

Select the operation of the Red Light switch: Manual / Auto (Play) / Auto 
(Record). 

This allows the Listen function to be switched off when talkback is activated, 
thus avoiding feedback problems. 

(Sums / Replaces) When assigning talkback to foldbacks, this option defines 
whether talkback sums with or replaces the normal foldback signal. 



The 'Auto' modes inhibit the Talkback and/or Listen switches when the transport Play or Record tally is lit. Selecting red 
light to one of 'Auto' modes makes it follow the Play or Record tally. 

Oscillator 

The 'oscillator' is in fact a comprehensive tone and pink noise generator. It is located above the TFT screen, contains 
controls for frequency, level and routing of tone or pink noise to the Mix, Record and Track bus outputs and to the monitor 
outputs for use in monitor calibration. 



OSCON 
PINK ON 
LEVEL 

FREQ 



activates the oscillator output (surprise, surprise!). It's good practice to turn the 
oscillator off when recording, to prevent any accidental routing to desk outputs. 

switches the output from tone to pink noise. Note that the pink noise level can 
only be adjusted using the Pink 'Cal' preset. 

This pot adjusts the level of the tone generator from -25dBu to +20dBu. When 
fully anticlockwise, a preset 'Cal' level is selected which can be calibrated using 
the multi-turn presets located below the level control; a red LED lights to show 
when the level control is in the calibrated position. 

This rotary switch provides six preset frequencies. 




The oscillator may be routed to the TRACK busses, the MIX bus and the REC bus (individually or simultaneously) using 
the switches to the right of the LEVEL pot.. The oscillator output is also available on an XLR on the centre section 
connector panel. 



Page 3-26 



AWS 924-948 Owner's Manual 



Analogue Operations 



Centre Section Metering 

Fitted above the centre section is a meter panel for all of the console busses. 





On the left there are two VU meters and a phasemeter, which can display the outputs of the Record, Mix, Monitor or Solo 
busses. The indicators between the meters show the selected signal. 

On the right there are a number of LCD bargraphs. The top row of bargraphs meter (from left to right) the stereo MIX 
and REC busses, followed by the 6 components of the monitor busses (L, C, R, LS, RS, LFE) and the stereo solo bus. The 
bottom row meter (from left to right) the eight track busses, the two stereo cue busses and the four mono FX busses. The 
standard scale is +24dB for OdBFS (top of the scale); see below for alternative scale options. 

The monitor and solo meter feeds are also available via a 25-way D-type connector on the centre section connector panel, 
for use with external metering/monitoring. 

Meter options are provided by soft key selections in the Function keys. Select 
the METERS button to produce the following functions in the softkeys below 
the display: 

Daw Locks the channel metering to the selected DAW layer. 

Anl Locks the channel metering to the analogue layer. 

If neither DAW or Anl is selected the channel metering follows the console's Focus switch. 

VU This button cycles the source for the VU meters between the REC (record) bus, MIX bus or MON 

(monitor) bus, -the appropriate signal name will highlight in between the left and right VU meters to indicate 
what is being displayed. Note that the SOLO level is automatically displayed whenever a solo or AFL function 
is activated on the console. 

lOdb This button introduces a lOdB reduction in the VU signal, for the purpose of metering high level signals. The 
red - lOdB signal between the LEFT and RIGHT VUs lights to indicate this function is active. 

PK Switches the meters to peak reading mode; peak readings are held for 3 seconds. 

HLD Select this to hold the peak readings indefinitely. When active, press this button twice to clear the peaks. 

Meter scaling options are accessed via the TFT screen. The 1 6 boxes at the base of the screen indicate the functions assigned 
to the 1 6 buttons in two rows of eight below the screen. Press the SSL button, followed by Misc > Setup and locate the 
meter scaling in the list: 

Analogue Meter Scaling: 24 dBu = OdBFS / 22 dBu = OdBFS / 20 dBu = OdBFS / 18 dBu = OdBFS. 



AWS 924-948 Owner's Manual 



Page 3-27 



Analogue Operations 



Console Setup Menu 

The centre section TFT screen provides access to a setup menu that holds a number of useful console-related items. Select 
SSL followed by Misc and then Setup. 




Note that a VGA connector on the bock of the console allows the console's screen to be displayed on an external 
monitor. See Section I for details. 

To change a setting, use the left hand V-pot ( [ I J ) to select the item, then press the V-pot to enter adjustment mode. 
Turn the V-pot to the desired setting and press it a second time to save the setting. 

The Setup options are described over the following pages. 



Page 3-28 



AWS 924-948 Owner's Manual 



Analogue Operations 



Automation 
Glide frames: 

Rollback threshold frames: 



In Mix show: 



Latched Match and Play 



Talkback 

Talkback switches are: 

Listen switch is: 

Red light switch is: 

TB switches disable Listen: 

TB to FB: 



Sets the ramp time in frames for the automation SNAP mode, (range - 255) 

Sets the number of consecutive frames that the system needs to see to 
determine if a Rollback has taken place. The range is 2 - 10; the default is 2. 
Increase as required if a Rollback occurs when you stop the timecode master. 

When using the automation, you have a choice of what is displayed on the 
console's channel scribble strips (and below the Group and Master fader 
levels in the Centre Section TFT screen). The choices are: 

Automation Mode: displays the status of the faders - Auto, Safe or Manual; 

Channel names in Mix running: displays the channel names once Execute is 
pressed in automation, 

Channel names: displays the channels names regardless. 

(ON/OFF) Normally Match and Play are automatically deselected after a Cut 
switch is operated. This option latches the Match or Play function until 
deselected manually. 

Select the operation of the talkback buttons: Momentary / Latching / Auto 
(Play) / Auto (Record). 

Select the operation of the Listen buttons: Latching / Auto (Play) / Auto 
(Record). 

Select the operation of the Red Light: Manual / Auto (Play) / Auto (Record). 

This allows the Listen function to be switched off when talkback is activated, 
thus avoiding feedback problems. 

(Sums / Replaces) When assigning talkback to foldbacks, this option defines 
whether talkback sums with or replaces the normal foldback signal. 



See Communications for more details of these options 



Monitor section 

Monitor Gain Display: 



Monitor Set CAL level: 



The calibration of the main monitor Gain pot and display can be set to one 
of three industry-standard monitoring modes: Music (Off to 11)/ Film (Off 
to95dB)/Gain(Offto0dB) 

When in Film mode, adjust the calibrated listening level: 70 - 90 (dB). 



See Monitor Level Display and Calibrated listening level for more details of these options 



Solo Gain boost: 

Isolated channels AFL on solo: 

Desk Setup 

Input Cut Enable: 

Analogue Meter Scaling: 



Automatically increases the monitor level when a SOLO or AFL is activated 
(Range:0-IOdB). 

Set solo-isolated channels to automatically solo in AFL (ON/OFF). 



If set ON, the channel strip CUT button will cut prefade sends, ie. Aux and 
CHOP sends (ON / OFF). 

Set the analogue level corresponding to OdBfs on the console meters. (Range 
18, 20, 22, 24dBu). 



AWS 924-948 Owner's Manual 



Page 3-29 



Analogue Operations 



DAW setup 

DAW setup parameters can be found in section 4 of this manual; see page 4-3 for more details. 

Desk settings 

Scribble Strip Brightness: Use this to adjust the channel scribble strip brightness (range: 1-6) 

Turn Off Display After: Shuts off the TFT display after a predetermined time: 30 mins to 5 hours in 

30 minute increments. 

The scribble-strip displays con be turned off by turning the control pot clockwise (beyond 8 or 6) to 'Off. 

On occasion, when changing the status of some of the above functions, you will be prompted to reboot your AWS console. 
It is possible to do this without reaching the Power switch at the rear of the console through the addition of a soft menu 
RESTART. When you select this you will be prompted to CONFIRM and your console will reboot. 



Page 3-30 AWS 924-948 Owner's Manual 



Solid State Logic 

SOUND VISION 



AWS 924-948 
Owner's Manual 



SECTION 4 
DAW Control 



DAW Control 



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Page 4-11 AWS 924-948 Owner's Manual 



DAW Control 



Section Contents 



Section Contents 4-iii 

Introduction 4-1 

A-FADA 4-1 

DAW Controller Features Summary 4-1 

Focus Modes 4-2 

Configuring DAW Layers 4-3 

DAW Layers 4-3 

Communication with your DAW 4-4 

Logic Handshaking 4-4 

A-FADA Analogue Automation 4-5 

Snap 4-5 

Setup Guidelines 4-6 

HUI and MCU common Features 4-7 

V-Pots 4-7 

The Master Control Panel 4-8 

Channel Banking Controls 4-8 

Pro Tools HUI Control Guide 4-9 

DAW Window Buttons 4-9 

DAW Utility Buttons 4-9 

Modifier Buttons 4-9 

The Default Button 4- 1 

Resetting Pans 4- 1 

Resetting Faders 4- 1 

Resetting Sends 4- 1 

Resetting Plug-ins 4- 1 

Channel Functions 4-1 I 

DAW Meters 4-11 

Status Indicators 4- 1 1 

Multi-channel Metering (TDM Systems Only) 4-1 1 

Channel Fader 4- 1 1 

Fader Grouping 4- 1 1 

Channel Solo and Cut Tile 4-12 

Solo Isolate 4-12 

Channel SEL Button - Track Arming/Edit/Select 4- 1 3 

Record Ready Mode 4- 1 3 

Record Safe 4-13 

Working with the Channel V-pots 4- 1 4 

Setting Sends Pre/Post Fader 4-15 

Muting a Send Output 4-15 

Flipping Send Levels to the Faders 4- 1 5 

Input, Output and Send Routing 4- 1 6 

Viewing Input, Output and Send Routing 4- 1 6 

Setting Input, Output and Send Routing 4- 1 6 

Assigning Signals to Multiple Channels 4-16 

Assigning a Channel to Multiple Outputs 4-16 



AWS 924-948 Owner's Manual Page 4-iii 



DAW Control 



Motion Control Panel 

Transport Controls 
Other useful transport modes 
AWS Footswitch Control 
Zoom, Navigation and Selection Modes 

Navigation Mode (Neither Zoom nor Select lit) 
Zoom Mode (Both Zoom and Select lit) 
Select Mode (Both Zoom and Select Flashing) 
Scrolling Within a Window 
Shuttle/Scrub Wheel 
Numeric Keypad 

Working with Markers/ Memory Locations 

HUI Plug-in Control 

Plug-In Editor 

Plug-In Editor Display 

Plug-In Editor Controls 

Paging Buttons 

Selecting DAW Channels to Edit 
Plug-In Display Modes 

Viewing Current Inserts (Insert Mode) 

Assigning a Plug-In or Hardware I/O (Insert Mode) 
Editing Plug-In Parameters (Parameter Mode) 

Selecting a Plug-In to Edit 

Changing Plug-in Parameters 

Hi-Resolution Parameter Display Mode 

Comparing Your Changes 

Bypassing Plug-ins 

V-pot Sensitivity 



4-17 
4-17 
4-17 
4-18 
4-19 
4-19 
4-19 
4-19 
4-19 
4-20 
4-20 
4-20 

4-21 

4-21 
4-21 
4-21 
4-21 
4-21 
4-22 
4-22 
4-22 
4-23 
4-23 
4-23 
4-23 
4-23 
4-23 
4-23 



Additional HUI Displays 

Timecode/Bars & Beats/Samples Display 
DAW Status Display 
Soft Key Display 

/. Automation Enables 

2. Automation Modes 

3. Edit Tools Menu 

4. Edit Modes Menu 

5. Status/Group Menu 

6. Function Keys 

7. EDIT Menu 

8. SSL Menu 



-25 

4-25 
4-25 
4-25 
4-25 
4-25 
4-26 
4-26 
4-26 
4-27 
4-27 
4-27 



HUI Automation 

Automation Enables 

Automation Modes 

Automation Status Display 

Suspending Automation 

Writing Automation (Write to Start, End or All) 

Automating Switches (eg. Cuts) 

Automating Pans and Sends 

Automating Plug-Ins 

Automation Indication for Plug-In Parameters 



-29 

4-29 
4-29 
4-29 
4-30 
4-30 
4-30 
4-30 
4-30 
4-30 



Page 4-iv 



AWS 924-948 Owner's Manual 



DAW Control 



MCU (Mackie Control) Emulation 4-3 1 

Mackie Control Emulation Advantages 4-3 I 

Implementation 4-3 1 

DAW Control Function Key Overview 4-33 

The Logic Template 4-34 

Logic Console Layout 4-34 

Transport Function Key Layout 4-35 

Logic Control screen 4-35 

Nuendo/Cubase Template 4-36 

Nuendo Console Layout 4-37 

Nuendo Control screen 4-38 

The Sonar Template 4-39 

Sonar Console Layout 4-40 

Sonar Control screen 4-4 1 

Digital Performer Template 4-42 

Digital Performer Console Layout 4-42 

Digital Performer Control screen 4-43 



AWS 924-948 Owner's Manual Page 4-v 



DAW Control 



This page is intentionally almost blank 



Page 4-vi AWS 924-948 Owner's Manual 



DAW Control 



DAW FOCUS 



Introduction 

When connected to a Digital Audio Workstation which supports either the HUI or Mackie Control Universal (MCU) 
protocols, the AWS becomes a powerful digital work surface controller, giving direct access to the most important controls 
within the DAW. The console faders can be used to control the workstation faders and sends, the 24 channel V-pots can 
be used to control pans, sends and I/O functions and the Master Control Panel and plug-in controller provide easy access 
to a range of other parameters. 

Provided the Logictivity option has been enabled the AWS can control two DAWs simultaneously from two virtual 'layers'. 

For an up to date list of compatible DAW applications please go to the AWS support pages at http://www.solidstatelogic.com 
- Pro Tools and a number of other DAWs support the HUI protocol. 

For further information (based on Pro Tools 8) see Pages 4-9 through 4-30. 

Many other DAWs, including Logic Audio, Sonar, Nuendo and Digital Performer, support the MCU protocol. 
For further information, see Page 4-3 I onwards. 

Please refer to the controller documentation that came with your DAW 

A- FAD A 

A-FADA (Analogue Fader Accesses DAW Automation), is an innovative new way of combining the convenience of DAW 
automation with the audio qualities of analogue mixing by using DAW track automation to control the analogue faders. See 
Page 4-7 for more details. 

DAW Controller Features Summary 

Direct access to all major DAW mixing, editing and automation parameters 

Direct control of plug-in settings 

Integral colour TFT display with dedicated control keys 

High resolution rotary encoder (V-pot) in every channel provides control of DAW pans, sends and I/O routing 

High quality motorised faders to write/replay level moves in your DAW 

Simple switching between console layer and DAW control layer 

Full remote control implementation 

Operation independent of platform or application 

DAW control of analogue faders using A-FADA 



AWS 924-948 Owner's Manual Page 4- / 



DAW Control 



Focus Modes 

In order to allow console controls to be used to control either analogue signals or an external DAW, SSL 
created 'Focus modes' as a way of allowing the AWS to 'focus' on one or other domain. To switch between 
modes, press the Focus switch, towards the bottom of the console centre section (shown right). The 
button is lit for Analogue Focus, and unlit for DAW Focus. Focus mode can also be quickly checked by 
looking at the channel meters: the bottom LEDs stay lit when the console is in Analogue Focus. 



m 



While a number of controls always retain the same role (such as analogue signal processing, routing and monitoring, or DAW 
transport control), the roles of the following controls are different in each Focus mode: 



Console Element 


Analogue Focus (Button lit) 


DAW Focus (Button unlit) 


Channel faders, 
plus its cuts and solos 


Analogue signal in channel 


DAW channel level 


Channel V-pots, 
plus its cuts and solos 


In-line: Secondary path level; Stereo: Balance 
Or DAW params (see notes below) 


Available for DAW parameters or 
analogue signal control (see notes below) 


Channel 
SEL switch 


Assigns analogue channel to Master Section 


Highlights DAW channel, track arm or 
plug-in select 


Channel 
meters 


Displays channel's analogue signal level 
(see notes below) 


Displays DAW channel level 
(see notes below) 



When the console is in DAW Focus mode, analogue level control of stereo channels can be assigned to the V-pots by 
pressing the CHANNEL switch, to the left of the Focus button. This allows 'In-Line'-style signal control but with the 
monitor mix being created using the DAW digital mixer. Pressing the V-pot will then cause the functions of the V-pot 
and fader to be swapped. 

948: In In-line Channel Modes, the V-pot adjusts the level for one of the channel paths, as explained on the following 
page. In Stereo mode, the V-pot becomes a balance control. The CHANNEL switch is still available for DAW control. 

Channel meters can be locked to either Focus mode by entering the Function Keys' Meters menu and selecting either 
DAW or Anl. 

This section of the manual assumes that the console is on DAW Focus mode. 



Page 4-2 



AWS 924-948 Owner's Manual 



DAW Control 



Configuring DAW Layers 

DAW Layers 

The AWS can connect to two DAWs simultaneously which are controlled from the two virtual 'layers'. Control operations 
performed on the AWS control surface will then affect whichever DAW is assigned to the currently selected layer. To select 
which DAW is assigned to each layer go to SSL > Misc > Setup on your console and select the following: 

MIDI Connects via: Network. Note that only one DAW layer is available when using the standard 

MIDI ports. 

DAW I : Protools HUI / Logic / Logic Handshake / Nuendo / Digital Performer / Sonar 

DAW 2: Protools HUI / Logic / Logic Handshake / Nuendo / Digital Performer / Sonar 

/ None 

If 'None' is selected for DAW 2, Menu entries related to DAW 2 will not appear. 

Transport lock layer: Select the master DAW layer for transport control between DAW I , DAW 

2 or Off. 

First physical channel DAW I : Select the console channel number that is controlling the first track number 

on DAW I . 
(When DAW 2 is assigned, there is a First physical channel DAW 2: 

menu entry.) 

Channel Count DAW I : Select the total number of channels dedicated to DAW control (8-24 in steps 

of 8). 

(When DAW 2 is assigned, there is a Channel Count DAW 2: menu 
entry.) 

Single Layer: Assign both DAWs to a single layer (ON/OFF). 

Can only be set to ON if the two DAW layers are assigned to different channels. 

After making these changes the console should be restarted. 

Setup ipMIDI ports I, 2 and 3 as the MIDI controller ports within the Primary DAW and ipMIDI ports 4, 5 and 6 as the 
MIDI controller ports within the Secondary DAW. See the end of Section 4 for more details as to the setup of each specific 
DAW. 

When the desk is in DAW Focus, the console's controls will only affect the DAW on the current layer. There are two ways 
to select which DAW layer is being controlled: 

- In the TFT screen, activate SSL then press Daw and choose either DAW I or DAW2. 

- Press the MISC Function Key and choose either DAW I or DAW2. 

The transport controls can be locked to one layer using the Setup menu's Transport lock layer entry - see above. 



AWS 924-948 Owner's Manual Page 4-3 



DAW Control 



Communication with your DAW 

The AWS connects to your chosen DAW via three MIDI ports at the rear of the console or via MIDI over Ethernet. Each 
AWS DAW layer emulates three HUI or MCU controllers. The HUI and Mackie Control (MCU) protocol are widely 
supported by DAW manufacturers. 

Section I details the MIDI and/or network connections between console and computer and the installation of the 
ipMIDI driver software and how to configure Protools and Logic. Information relating to other DAW systems is included 
later in this section. 

Refer to your DAW manual for information on how to configure your software. Once configured and connected, 
communication with the DAW will be initialised, and the level of the AWS channel faders, rotary controls and master 
functions will be set to match the DAW controls (provided you are in DAW Focus mode and have the right DAW layer 
enabled). 

When using your DAW without the AWS, you should remove the AWS from the MIDI controllers section of your DAW 
(please see the information specific to your DAW). 

Logic Handshaking 

Logic Audio uses a challenge - response system to automatically detect connected controllers when it boots up. This feature 
can be enabled by selecting 'Logic Handshake' when choosing the protocol type in SSL > Misc > Setup. Selecting any 
other MCU protocol will disable this feature. 

Additional details will found in section I 



Page 4-4 AWS 924-948 Owner's Manual 



DAW Control 



A-FADA Analogue Automation 

A-FADA (Analogue Fader Accesses DAW Automation) is an innovative new way of integrating your DAW automation 
system with the audio qualities of analogue mixing by using DAW track automation to control the analogue faders and cut 
functions, opening up a wide range of possibilities for creativity and convenience in mix automation. 

Operationally, A-FADA should quickly become intuitive to anyone who is familiar with their DAW automation system. 
With this in mind, the descriptions below provide enough information to get you going and solve the immediate challenges, 
but the rest is up to you. 

A-FADA is enabled in the TFT screen by selecting SSL followed by Daw, and then selecting DF I or DF 2 (A-FADA 
control from DAW Layer I or Layer 2). Alternatively, press the MISC button in the Function keys, and select DF I or 
DF 2 (A-FADA control from DAW Layer I or Layer 2). 

Note that if only one DAW option is available, you have only set up one DAW layer in the console screen's SSL > Misc 
> Setup menu. 

The console's analogue faders are controlled by the automation information from those DAW tracks assigned to channels 
1-24. The automation data is applied to the signal path assigned to the fader, regardless of whether it is mono or stereo. In 
Inline Mix or Track and Analogue Focus mode the channel V-pot will control the secondary signal path but will not write 
automation to the DAW, allowing more audio channels to be passed through the console on mix-down if required. In 
DAW focus the channel V-pot controls the selected DAW parameter. 

Once A-FADA mode has been enabled the console faders will control the 24 corresponding DAW faders and the fader 
position signal from the DAW will control the console fader positions and analogue gain, regardless of the selected Focus 
mode. 

In Analogue Focus the channel cut switches control the analogue cuts directly, and in DAW Focus they are controlled via 
the DAW. This allows channels to be quickly muted without writing automation by selecting Analogue Focus. 

The console solo switches are connected to the analogue signal path in both Focus modes. 

In order to lock console channels to the same DAW track (and thus automation), Channel/Bank scrolling is disabled in A- 
FADA mode. 

If you now play the DAW automation or move an on-screen fader, you will see the analogue faders move - these movements 
are affecting the analogue signal levels within the AWS. 

Snap 

The Snap function, located within the Misc Function keys and within the TFT screen's DAW menu, takes a snapshot of 
the console analogue fader positions when A-FADA mode is enabled. Pressing the Snap switch will move the faders to the 
stored positions, allowing the analogue balance to be restored and written to the DAW automation. 



AWS 924-948 Owner's Manual Page 4-5 



DAW Control 



Setup Guidelines 

When moving the faders, there is a good chance that you will be affecting the track output from the DAW and the channel 
output within the AWS simultaneously, thus duplicating all of the level changes - an effect which is probably unwanted. 

There are a number of potential solutions to this duplication: 



Solution I: Use pre-fade outputs 

This first option would be suitable if you wish to replicate the DAW automation in the analogue domain: 

Route DAW tracks from pre-fader to the appropriate analogue outputs. In Pro Tools this can be done using a prefader 
aux send and setting the aux gain to OdB. In Logic route an aux send to a different bus on each channel then route the 
aux sends to the appropriate analogue outputs. De-assign the track outputs to avoid summing pre and post fade signals. 
Within the DAW, fader movements will now only affect the Master bus and any other post-fader sends. 

This also allows the creation of post fade aux sends within both the AWS and the DAW, providing some interesting 
creative options. 



Solution 2: Create additional DAW tracks 

This second option allows automation to be written independently for analogue and DAW channels. 

Create 24 blank DAW tracks, and bank to appear on console channels 1-24. Select A-FADA. 

If you have automation you wish to re-use, copy it from the audio tracks and paste it to the blank tracks you have just 
created. You will then need to either disable or delete the automation from the original tracks. 

If the automation is deleted rather than disabled, micro-automation (such as the removal of undesirable transients) can 
be performed on the original audio tracks within the DAW by temporarily disabling A-FADA and scrolling to those 
tracks. 

Note that MIDI tracks should not normally be used as the fader position is displayed as a controller value (0-127) 
rather than in dB. 



Solution 3: Use a dedicated DAW for analogue automation 

Use two DAW layers, one for your audio and one for your automation. This will require you to have two DAWs running 
on either the same or two separate computers, and to enable both DAW layers within the console screen's SSL > Misc 
> Setup menu. 

See the Installation section for information regarding how to set up multi-computer configurations. 

A variation on this is possible with Logic, which allows two (or more) controllers to be configured. This allows one layer 
to be used as a normal DAW controller and the second to be locked to 24 dedicated automation tracks. 

Micro-automation (such as the removal of undesirable transients) could be performed on the original audio tracks within 
the DAW by entering DAW Focus mode and scrolling to those tracks. 



Page 4-6 AWS 924-948 Owner's Manual 



DAW Control 



HUI AND MCU COMMON FEATURES 

This section describes functions that are common to both HUI and MCU protocols. 



Channel 
Meters 



Solo and 

Cut 

Panel 












■ m m ?w m m m m ?w m m m m m m m m m m m m ?w m m ^w/w\ m 



■ ■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■^■■■■■icanLinQ 









■ -(TrtTITriTIT 


— w — w — w -/ 

f: 1: ri. 


Channel 
Faders 










/ 


/ 



Plug-in Editor 



Z 



Y 



Master Control Panel 



Motion Control Panel 



The AWS faders and Solos and Cuts panels can be switched between controlling the analogue audio signal path and the DAW 
using the Focus switch - see below. The Motion Control Panel, Master Control Panel and Plug-in Editor always control the 
DAW. The illustration above shows the DAW controller elements in 'DAW Focus Mode'. The greyed-out areas indicate 
analogue-only console elements. 

V-Pots 

Each channel contains a continuous rotary controller or 'V-Pot'. The Plug-in editor has four additional rotary controls for 
plug-in parameters. 



AWS 924-948 Owner's Manual 



Page 4-7 



DAW Control 



The Master Control Panel 

The Master Control Panel includes a mixture of master functions and modifier keys for control of a DAW. The layout 
shown below is for HUI. Alternative layouts for the various MCU implementations are given in Page 4-3 1 onwards. 



MUTE 




OUTPUT 




■;in,-iEiarf 



BYPASS 




r 



DEFAULT 



EEE1D 



|T] Channel Banking Controls 




SUSPEND 
AUTO 



ROY 
ALL 













ALT 








STATUS 














TRANS 








fl3 












MEM 














MIX 












EDIT 





The AWS console has 24 touch sensitive moving faders, however, if the DAW session has more faders than this, the AWS 
can 'bank flip' its faders to control any number of virtual faders within the DAW. 

To flip the 24 console faders to the next set of 24 DAW faders, press the right bank button. To flip back to the previous 
24 faders press the left bank button. Any number of virtual faders can be controlled from the AWS using the banking 
buttons. 

To scroll the faders one at a time, press the CHANNEL button (located between the two banking arrow buttons) followed 
by the left or right banking buttons; the CHANNEL button will light to indicate it is in 'Channel' mode. Press the 
CHANNEL button once more to switch back to 'Bank' mode. 



Page 4-8 



AWS 924-948 Owner's Manual 



DAW Control 



Pro Tools HUI Control Guide 



This section describes functionality on Digidesign's Pro Tools 8 and above. The functionality of other packages will depend 
on their implementation of the HUI protocol. 




Q7) DAW Window Buttons 



This group of keys provides instant access to the various windows within the DAW. Press them once to display or hide the 
relevant menu. 



ALT 

STATUS 

TRANS 

MEM 

MIX and EDIT 



Opens or closes the floating window for the currently selected plug-in. 

Opens or closes the Session Setup window. 

Opens or closes the Transport window. 

Opens or closes the Memory Locations window. 

Brings the window to the foreground. The active window's button will light. 



\T\ DAW Utility Buttons 



This group of four buttons provide shortcuts to useful functions in the DAW. 

SAVE will light when unsaved data is present. It flashes when pressed once - press again to Save the session, or press ESC 
to cancel. 

The UNDO button will light if undo is available and flash if redo is available - press it to Undo the last function. Press ALT+ 
SHIFT+UNDO to Redo the last function. 

ENTER duplicates the function of the Enter key on the computer keyboard. 

ESC(ape) duplicates the function of the HUI F8 key and cancels on-screen dialogues. 

[To] Modifier Buttons 

These buttons modify the function of other buttons. Their function is detailed in the relevant sections of the manual. 

OPTION typically changes the function of a single button to affect all similar buttons. For example, holding it down and 
pressing a channel CUT button will cut all DAW channels. It is a direct equivalent of the Macintosh Command key. 



AWS 924-948 Owner's Manual 



Page 4-9 



DAW Control 



SHIFT allows selection of multiple objects or controls. It is a direct equivalent of the computer keyboard Shift key. 

ALT increases the resolution of rotary controls and inverts switch selections when held down. It is a direct equivalent of 
the Macintosh keyboard Option key. 

CTRL disengages grouping when held down. It is a direct equivalent of the Macintosh keyboard Ctrl key. 

(T]The Default Button 

Faders, pans and sends can be reset to their default values using the DEFAULT button: 

Resetting Pans 

Select the PAN button on the Master Control Panel, and all 24 V-pots become pan controls. Hold the DEFAULT button 
while pressing the V-pot on the channel you wish to reset. Hold down OPTION and press DEFAULT to perform a reset 
across all pans. 

Resetting Faders 

Hold the DEFAULT button while pressing the SEL button on the channel you wish to reset. Hold down OPTION and 
press DEFAULT to perform a reset across all faders. 

Resetting Sends 

Select the SEND button on the Master Control Panel. Turn the Master V-pot to scroll through the list of available sends. 
Hold the DEFAULT button while pressing the channel V-pot on the channel you want to reset. Hold down OPTION 
and press DEFAULT to perform a reset across all sends. 

Resetting Plug-ins 

Hold the DEFAULT button and press COMPARE (the Plug-In Editor function). The plug-in default value is either the 
factory setting or user setting determined within the DAW. 



Page 4-10 AWS 924-948 Owner's Manual 



DAW Control 



Channel Functions 

In DAW focus mode the channel meters, faders and part or all of the Solo and Cuts tile control the DAW and display its 
status. 



33 



34 DAW Meters 



When in DAW focus mode, the 24 stereo channel meters indicate the level of the DAW 
signal path. Mono tracks are displayed on the left meter only. When a signal reaches OdBFs, 



the corresponding OVER tally 
clipped. 



32 



will light to indicate that the DAW signal level has 



These meters duplicate the function of meters within your DAW, and show the same 
information. The meters also follow DAW pre or post fader meter settings, as set within 
the DAW. 

OVER tallies can be reset using the Fl function in the Fkys softkey menu 

Status Indicators 

The meter shows the status of the corresponding DAW track. 

REC [30 J flashes when the track is in record ready and lights when the track is in record. 




EDIT 



[31 J indicates that the track is selected for editing with the plug-in controller. 



Multi-channel Metering (TDM Systems Only) 

Multi-channel metering can be displayed by pressing OPTION + SOLO on a selected multi-channel track. The next two 
stereo meters are used to show the additional information. Normal metering functionality resumes after deselecting the Solo 
function. 

Channel Fader 

The channel fader can control any virtual DAW fader including Channel, Master, Auxiliary 
MIDI tracks or Instrument tracks. The calibration of the fader will depend upon the DAW 
(please refer to your DAW manual for more details). Pressing ALT will display the gain of 
the DAW fader on the fader scribble strip when you move the fader. 

Fader Grouping 

Channel faders will follow any grouping enabled within your DAW. Faders can be disengaged 
from a fader group simply by holding down the CTRL button or by touching one fader in 
a group while adjusting another fader's level. Relative fader levels are maintained upon 
release of the fader. 




AWS 924-948 Owner's Manual 



Page 4- / / 



DAW Control 




Channel Solo and Cut Tile 

fTs] Channel V-pot 

Each channel has a continuous controller (the V-pot). This can be used to control Send levels and 
Panning, and to assign Input, Output and Send routing. See Page 4-16 for more details. 

The V-pot includes a push switch that is used (depending on the centre section mode) to select 
sends to be pre or post fade, to mute sends and to confirm I/O selections. See Page 4- 1 5 for more 
details. 

Q3Q3 Solo and Cut Switches 

Two sets of SOLO and CUT buttons are provided on each channel. The upper set is associated 
with the signal path controlled by the channel V-pot and the lower set with the signal path under 
fader control. Thus in Analogue Focus mode and with CHANNEL mode selected the lower set 
of buttons control the analogue path and the upper the DAW channels. Changing to DAW Focus 
reverses this. 

When a DAW solo is active the cut buttons on the other channels flash. 

Holding down OPTION and pressing a channel SOLO/CUT button will select/deselect that 
function across all channels. If channels are already soloed then this will turn off all solo buttons, 
making this a quick way to clear solos. 

Solo Isolate 

Holding down ALT and pressing a channel SOLO will put a channel into Solo Isolate mode. This mode prevents that 
channel from being cut when a SOLO is activated on another channel. This is particularly useful for FX return tracks. 

p7] Channel Select Button 

The channel SEL button can function as a channel select button, a track record enable or a plug-in edit enable button, 
depending on the mode selected on the Master Control panel (I 5 I , as shown on Page 4-6). 

0303 Scribble str| p Dis p |a y s 

When an AWS channel fader is controlling a DAW fader level, the channel scribble strip will indicate a four character 
version of the DAW channel name. When controlling the analogue channel it displays the number of the fader, eg 'Fader 
23'. 

The scribble strip can also display other information such as: Automation status, Grouping information, Monitor information, 
Input/Output routing, Send routing, Send Pre/Post information, fader level display and Pan position. 

The V-pot scribble strip displays the DAW channel name or analogue fader number in CHANNEL mode or the selected 
function (Pan, ASGN etc) in other modes. 



Page 4-12 



AWS 924-948 Owner's Manual 



DAW Control 



\~s~] Channel SEL Button - Track Arming/Edit/Select 




The function of the channel SEL ( 17 ) button depends on the mode selected on the centre section RDY, EDIT and 



SEL keys on the Master Control Panel. 

[T] Record Ready Mode 

If RDY is selected all 24 channel SEL buttons become Record Ready buttons. Pressing a channel 
SEL button puts the DAW track into Record Ready (provided that the DAW track has an input 
routed). The REC tally above the meter flashes to show that the track is in ready. 

Q2) Ready All 

Track arming can be set or cleared across all channels by using the master RDY ALL button. This 
button flashes if any DAW tracks are in Record Ready. Pressing this switch while it is flashing will 
clear all track arming. 

Record Safe 

To put a DAW track into Record Safe (so it cannot be put in to Ready) hold down ALT and press 
the channel SEL button. Hold down ALT+OPTION then press any SEL button to set all tracks 
to Record Safe. 

[J] Edit Mode 

With EDIT mode selected the channel SEL button can have a number of functions: 
This function will only work for the first 8 DAW channels in Pro Tools V6.4 and above. 



1 16 1 [ 16] 
&\^ 15 1 


I 14 1 
1 18 1 




[ 17 






1 c 


1EL 












1 SOLO 


li 


:ut 



Provided BYPASS (I 4 I ) is off pressing one of the channel SEL buttons assigns the plug-in editor to that channel. The 
EDIT tally on that channel will light to confirm that this is the edit channel. 

A double press on the SEL button will select the first plug-in in that channel for editing. Successive double presses will select 
the next plug-in in that channel. 

Selecting BYPASS ( [ 4 j ) on the Master Control Panel changes the channel SEL buttons to Bypass buttons. Pressing a 
channel SEL switch will bypass all plug-ins on that channel. The channel EDIT flag will light to show that all plug-ins are 
bypassed. 



AWS 924-948 Owner's Manual 



Page 4-13 



DAW Control 



\~s] Select Mode 



All 24 channel SEL buttons become track select buttons. They perform the same function as clicking with the mouse on a 
channel in the DAW. 

A double click on a SEL button will open the channel naming pop-up for that channel. 

Multiple channels can be selected by holding down the SHIFT button while selecting further SEL buttons or by holding 
down the first SEL button you pressed while you select more channels. Note that this last method only works within 
blocks of channels corresponding to a single HUI interface. 

Hold down OPTION and press any SEL button to select all channels. 

Hold down ALT and press any SEL button to invert the state of all select buttons. 

Working with the Channel V-pots 

The channel V-pots can control DAW channel pan, Send (Aux) levels and pan, routing assignment and analogue audio levels. 
Each V-pot also has a switch which is activated by pushing down on the V-pot. 

The channel V-pot function is selected on the Master Control Panel by the Master Send V-pot ( [ 2 J ) and six associated 
buttons ( [T] ). 

The scribble strip above the channel V-pots shows which function is currently selected. A further two buttons (PRE/POST 
and MUTE, [ 4 J ) change the function of the V-pot push switches. 

(T) Pan Mode 

Select PAN mode and the channel V-pots become pan controls for the DAW. The V-pot scribble strip displays 'Pan'. 

Pressing the PAN button on the Master Control Panel a second time (it flashes in this mode) allows you to access a second 
pan control for stereo channels according to your DAW configuration. The V-pot scribble strip displays 'Pan R' in this 
mode. 

Press the PAN button again to return to normal pan mode. 

When panned centrally a red LED appears just beneath the channel V-pot. 

Holding down ALT displays a pan's numeric value on the channel scribble strip when you adjust the control. 



P~i ) Channel Mode 



Select CHANNEL mode and the channel V-pots control the analogue gain of the channel strip. The V-pot scribble strip 
will display the analogue fader number (eg 'Fader 12'). 

Switching to Analogue Focus mode will swap the analogue gain and the DAW gain between V-pot and channel fader. 
Individual channels can be swapped by pressing the channel V-pot. 



(T) Send Mode 



Select SEND mode on the Master Control Panel and the V-pots become level controls for any sends or aux send levels within 
the DAW. 

The Master Send V-pot ( [ 2 J ) selects which of the available sends (A-E or 1-5) is being controlled by the channel V-pots. 
The selected send is shown in the display window above the Master Send V-pot (and on the channel V-pot scribble strip). 

The channel V-pot scribble strips show the name of the currently selected send. Turning a channel V-pot will alter the level 
of the selected send from that channel. Holding down the ALT button allows you to make fine adjustments to the gain. 



Page 4-14 AWS 924-948 Owner's Manual 



DAW Control 



Setting Sends Pre/Post Fader 

When working with sends it is useful to be able to flip a send between pre and post fader. 

If necessary select the PRE/POST button ( [ 4 J ) on the Master Control Panel. 

Pushing a channel V-pot will now switch the selected send on that channel between pre and post. 

The red LED below the V-pot lights to show PRE is selected. 

To change mode on all channels press and hold the OPTION button then press any channel V-pot. All channels will switch 
to Pre or Post. 



) on the Master Control Panel and push the channel V-pot. The 



Muting a Send Output 

To mute a send output select the MUTE button ( 

red LED below the channel V-pot will light to show the channel is muted 

To mute or un-mute all channels press and hold the OPTION button then press any channel V-pot. All channels will mute 
or un-mute. 




Flipping Send Levels to the Faders 

To flip Send levels from the V-pots to the channel faders, press the Master Send V-pot (1^1) marked 'Push to Flip'. 

The channel faders now control the send levels and the fader CUT button will mute the send. 

The channel V-pot controls panning on stereo sends. 

In this mode PRE/POST mode is automatically selected for the V-pot switches, so pushing a V-pot will toggle the Send 
pre/post selection on that channel. The red LED below the V-pot lights to show PRE is selected. 

The fader SOLO button will solo the channel, not the send. 



AWS 924-948 Owner's Manual 



Page 4-15 



DAW Control 



Input, Output and Send Routing 

The channel V-pots can also be used to assign signals to inputs, outputs and aux sends of your DAW mixer: 

Viewing Input, Output and Send Routing 

The Input, Output or Send routing for all DAW channels can be displayed on the channel scribble strip by holding down 



the INPUT, OUTPUT or SEND button ( 3 ) on the Master Control Panel. The Master Send V-pot can be used to 



select which of the available sends you wish to display. 

Setting Input, Output and Send Routing 

To make or change an Input, Output or Send assignment: 

1 . Select ASSIGN+ INPUT / OUTPUT or SEND on the Master Control Panel. 

When using SEND, select which send you wish to change from the available send slots using the Master Send V-pot. 

2. The V-pot scribble strip will now read ASGN and the fader scribble strip will indicate the current routing for the 
DAW channel. 

3. Turn a channel V-pot to scroll through a list of available DAW inputs or outputs (names are derived from the DAW 
I/O settings not the AWS). The list will appear in the channel scribble strip. The red LED below the V-pot will flash. 

4. Push the V-pot knob to select the current assignment; the red LED will become solid and a '>' symbol will appear in 
front of the assigned signal (for example, '>Out3-4'). 

5. Press the ASSIGN button once more to exit assign mode. This will also commit any changes made that have not been 
confirmed by pressing the V-pot. 

6. Pressing ESC at any time will abort the assignment process. 

Assigning Signals to Multiple Channels 

Holding down OPTION then pressing any channel V-pot will assign that channel's input to all channels. 

Holding down SHIFT+OPTION will assign that channel's input to all selected channels. Select SEL mode on the Master 
Control Panel then press the SEL buttons on the channels you wish to route to. 

Holding down OPTION and ALT then pressing a channel V-pot will incrementally route that channel's input to all 
channels. For example, selecting input I as the input to channel 9, then holding down OPTION and ALT before pressing 
the channel 9 V-pot will route input I to channel 9, input 2 to channel 1 0, input 3 to channel I I and so on across the entire 
DAW. 

Holding down SHIFT+OPTION+ALT will incrementally route that channel's input to all selected channels. Select SEL 
mode on the Master Control Panel then press the SEL buttons on the channels you wish to route to. 

Assigning a Channel to Multiple Outputs 

Hold the CTRL button and select another output. The currently assigned output will have a '>' symbol before it (for 
example, '>Out3-4'), and other added outputs will have a '+' (for example < +Out5-6') until you assign it. 

In the scribble strip, an '@' symbol indicates that an item is inactive (ie routed but muted). The '$' symbol indicates that 
more than one output is assigned, and at least one of those is inactive. 



Page 4-/6 AWS 924-948 Owner's Manual 



DAW Control 



Motion Control Panel 




20 



(22) Transport Controls 

Dedicated transport controls are provided for direct control over your DAW: 

ON LINE* 

LOOP* 

Q PUNCH* 

PRE* 

POST* 



Puts the DAW on line for synchronisation. 

Toggles Loop mode on/off (hold down CTRL for Loop Record mode). 

Toggles Quickpunch recording status on/off for your DAW. 

Toggles the pre-roll function for your DAW. See next page for setting Pre roll time. 

Toggles the post -roll function for your DAW. See next page for setting Post roll time. 



*The status of these functions is shown in the transport section of the TFT screen. 



IN 
OUT 

RTZ (Return-To-Zero) 

END 

REWIND 

FAST FORWARD 

STOP 

PLAY 

RECORD 



Captures the current DAW position as the Start edit time. 

Captures the current DAW position as the End edit time. 

Returns the playback cursor to the Session start time. 

Moves the playback cursor to the end of the Session. 

Holding down this button will rewind the DAW (increment depends upon Display mode). 

Holding down this button will fast forward the DAW. 

Stops playback or recording. 

Depending on the HUI DAW settings commences playback from the current cursor position 
or the last locate point, depending on DAW settings. 

Engages DAW recording for currently armed tracks. 



Other useful transport modes 

Half-speed Playback 

Abort Current Record Pass 

Cycle through Record Modes (Normal, Quickpunch, TrackPunch, Loop) 

Cycle through Machine Control Masters (accessible via the transport window) 

Link or Unlink the Edit and Timelines 



SHIFT + PLAY 
SHIFT + STOP 
CTRL + RECORD 
CTRL + ONLINE 

SHIFT + Back slash (/) 



AWS 924-948 Owner's Manual 



Page 4-/7 



DAW Control 



[20) Setting Pre and Post Roll 

Hold down ALT and press the PRE or POST button to highlight the left hand numeric field of the pre-roll or post-roll 
time window. The time is displayed on the console TFT screen in place of the DAW position. The selected numeric field 
will flash. Use the navigation left/right arrow keys to select a different numeric field if required, then enter a value on the 
numeric keypad or use the Up/Down arrow keys to increase or decrease the selected field. 

Press ENTER to confirm the time. 

The CLR button on the numeric keypad can be used to clear the selected time. 

[20] Setting start (In) and end (Out) Times 

Hold down ALT and press the IN or OUT button to highlight the left hand numeric field of the start or end time window. 
The time is displayed on the AWS TFT screen in place of the DAW position. The selected numeric field will flash. Use the 
navigation left/right arrow keys to select a different numeric field if required, then enter a value on the numeric keypad or 
use the Up/Down arrow keys to increase or decrease the selected field. 

Press ENTER to confirm the time. 

The CLR button on the numeric keypad can be used to clear the selected time. 

Audition 



20 



This function allows the IN, OUT, PRE and POST points to be checked. 

Select the AUD button then press either the PRE, IN, OUT, or POST button. Press the AUD button again to cancel 
the function. 

When Audition mode is selected the transport section of the TFT screen displays audition in place of the Pre and Post 
indicators. 

PRE Plays from the pre-roll point to the selection start point 

IN Plays from the selection start point for the post-roll time 

OUT Plays from the end point less the pre-roll time to the end point 

POST Plays from the selection end point for the post-roll time 

ALT+OPTION+PRE or IN Plays from the selection start point less the pre-roll time to the selection 

start time plus the post-roll time 

ALT+OPTION+POST or OUT Plays from the selection end point to the selection end point plus post-roll 

time. 

AWS Footswitch Control 

The AWS has two 6.35mm jack footswitch connectors on the rear of the console (see Section 3). These are intended for 
hands-free access to essential transport functions: 

Footswitch Control One: Either plays or stops the DAW. Holding down SHIFT will abort a recording 

if in record, or initiate half-speed playback if stopped. 

Footswitch Control Two: Used to activate or deactivate Record mode. Holding CTRL while pressing 

the foot switch will cycle through record modes. 



Page 4-18 AWS 924-948 Owner's Manual 



DAW Control 




[2!] Zoom, Navigation and Selection Modes 

The Motion Control panel has a section with four arrow keys and a ZOOM/SEL button that toggles the selection of three 
available modes: Navigation Edit, Zoom and Select. 

Navigation Mode (Neither Zoom nor Select lit) 

In this mode the arrow keys can be used to select a region or regions in certain DAWs. 

The left and right arrows will snap to region/clip boundaries. The up/down arrow keys move the cursor to the track above 
or below respectively. Holding down the SHIFT modifier button will allow a selection to be extended in any direction. 
Holding the OPTION button allows the current selection point to be centred on the screen. 

Holding CTRL+ Up/Down/Left/Right arrow button allows you to change and extend the region/clip selection. Holding 
SHIFT also includes either the previous or next region. 

Zoom Mode (Both Zoom and Select lit) 

The arrow keys now become horizontal and vertical zoom controls for the edit/arrange window on your DAW. 

Fixed edit/arrange zoom settings can be saved or recalled from the AWS numeric keypad: 
To save a zoom setting - press SHIFT + numeric keypad number 
To recall a zoom setting - press OPTION + numeric keypad number 

Select Mode (Both Zoom and Select Flashing) 

Currently this function is not supported in Pro Tools. 

Scrolling Within a Window 

To page scroll within a currently selected window (ie. Mix/Mixer or Edit/Arrange) press ALT+ Left/Right/Up/Down arrow 
button to scroll one page in either direction. Holding down OPTION and ALT scrolls to the window boundary. 



AWS 924-948 Owner's Manual 



Page 4-/9 



DAW Control 



24 Shuttle/Scrub Wheel 



The dual-concentric Shuttle/Scrub wheel has a spring-loaded outer ring and a continuously variable inner wheel for 
controlling DAW scrub and shuttle functions and for general timeline/clip navigation. 

Navigation Mode 

When the inner wheel is rotated, a stream of Nudge Commands are sent to the DAW according to rotation direction and 
speed. The playhead will step through the session timeline according the current nudge value. If a clip or MIDI note is 
selected, its position can be nudged via the wheel. 

Shuttle Mode 

When the DAW is stopped, turning the outer rim activates shuttle mode. The outer rim will step through seven fixed 
shuttle speeds, while the inner controller provides continuously variable control of shuttle speed. 

Scrub Mode 

Select a region to scrub within your DAW. Press the SCRUB button next to the wheel. The inner wheel now becomes 
an analogue tape machine style scrub wheel for the DAW. 

Using the Numeric Keypad to Shuttle 

In Pro Tools, the numeric keypad can be used to control shuttle speed and direction. Engage Shuttle Mode via the outer 
rim. Hold down the CTRL button followed by a number on the numeric keypad that represents the shuttle speed. The 
+/- buttons control the direction of shuttle. 

Exit from Scrub/Shuttle Mode 

To exit from shuttle mode press either the STOP or ESC button. To exit from Scrub mode, deselect the SCRUB Key 
or press either the STOP or ESC button. 

Notes on Scrub and Shuttle Modes (PRO TOOLS HUI ONLY) 

The position at which the scrub/shuttle starts is derived from the current selection or timeline position. Scrub/Shuttle mode 
can commence from the selection end point by holding down the OPTION button before you grab the shuttle wheel. 

Holding down the ALT button will increase the resolution of the scrub/shuttle wheel. 

When scrub or shuttle is active, many DAW functions are suspended until you exit from scrub/shuttle mode. 

The following functions are available: 

• Fader control, solo and cut buttons 

• Scrub/Shuttle wheel functions 

• Transport controls 

• Enter button (to create marker/cue events) 



23) Numeric Keypad 



The console's numeric keypad replicates the numeric keypad on your DAW keyboard. The primary use for this keypad is 
for saving and recalling Memory Locates and entering data values (please refer to your DAW manual for more details on 
keypad uses). 

Working with Markers/Memory Locations 

To Enter a Marker/Cue point - press ENTER. 

To Recall a Marker/Cue point - press a number followed by the decimal point button (Numeric Keypad in Classic mode) 
or a decimal point followed by a number followed by the decimal point button (Numeric Keypad in Transport mode). 



Page 4-20 AWS 924-948 Owner's Manual 



DAW Control 



HUI Plug-in Control 



Plug- In Editor 

AWS consoles come with a powerful Plug-in Editor located in 
the console centre section. From here, plug-ins and hardware 
inserts can be assigned, and plug-in parameters can be edited. 

Plug-In Editor Display 

The Plug-In Editor uses a high resolution TFT display, four V- 
pots and four soft buttons to control the parameters of any 
plug-in. 

The display is also used to show the position and status of 
the DAW and to provide access to a range of paged menus. 

The currently selected EDIT channel name is displayed at the 
top of the screen. Next are the plug-in control displays. Just 
below this are the transport status displays and timecode 
display. 

The bottom section is used for soft key menu selection. 

Plug-In Editor Controls 

The controls for the display are located just below the screen 
area. The four V-pots and associated soft keys map to the 
corresponding controls on the display. The V-pots also have 
push-push select switches which perform various functions. 

The display also shows information from the DAW at the top 
of the editor display. 

Paging Buttons 

The left/right paging buttons page through either available insert 
slots in INSERT mode, or plug-in parameters in 
PARAMETER mode (see following page). 

Selecting DAW Channels to Edit 

Select EDIT mode on the Master Control Panel then use the 
channel SEL buttons to choose the channel you wish to edit. 
The EDIT flag in the channel meter will light. The DAW will 
highlight the selected channel and currently selected plug-in. 
Press ALT to display the plug-in window. 



Alternatively, select a channel by double clicking on one of the 
insert points in the Mix window. Note that from V6.4 and above 
it will be necessary to move channels 9-16, 17-24 into bay I channels 1-8. 




Bank switching channels leaves the Plug-In Editor with the channel assigned to it. The channel EDIT tally will show 
this. 



AWS 924-948 Owner's Manual 



Page 4-2 1 



DAW Control 



Plug-In Display Modes 

There are three display modes, Insert, Parameter and Assign, which are selected with the ASSIGN and 
INSERT/PARAM buttons below the V-pots. 

Viewing Current Inserts (Insert Mode) 

Press the INSERT/PARAM button till the INSERT/PARAM box reads INSERT; the plug-in editor is in Insert 
mode. In this mode the four V-pots represent four insert points on the selected channel. The currently assigned plug-ins 
are displayed above each V-pot. The name of the currently active plug-in will flash. 

Additional insert points can be displayed using the paging buttons. 

The four V-pot push switches can be used to select an insert slot for editing or for plug-in assignment - see below. 

Assigning a Plug- In or Hardware I/O (Insert Mode) 

Note: Some DAW applications will not allow assignments to be made during playback, or recording. 

To Assign a Plug-in to a Channel Insert Point: 

1 . Press the ASSIGN soft button to enter assign mode; the on-screen box flashes to confirm this. 

2. Press the V-pot corresponding to the insert slot which you wish to route to a plug-in (use the paging buttons if 
necessary) then use the V-pot to scroll through a list of plug-ins and I/O slots. The names that are displayed are derived 
from the DAW. 

3. To confirm the assignment either: 

a. Press the ASSIGN button a second time. This will exit INSERT mode and switch the Plug-In 
Editor to PARAMETER mode for editing of the last selected insert. 

b. Press the V-pot used to make the assignment. This will confirm the assignment and leave you in 
Assign mode so you can make further assignments. 

Assigning the Same Plug-in to All Channels 

Follow steps I and 2 above to select a plug-in, then hold down the OPTION button before pressing the V-pot switch to 
assign a plug-in to all channels. 

Assigning The Same Plug-in to Selected Channels 

To assign a plug-in to selected channels select SEL mode on the Master Control Panel then choose the channels you wish 
to assign to by holding down SHIFT and pressing the channel SEL keys. 

Follow steps I and 2 above to select a plug-in, then hold down OPTION+ SHIFT before pressing the V-pot switch to 
assign the plug-in to the selected channels. 



Page 4-22 AWS 924-948 Owner's Manual 



DAW Control 




Editing Plug- In Parameters (Parameter Mode) 
Selecting a Plug-In to Edit 

In Insert or Assign mode press the plug-in V-pot for the insert 
you wish to edit or in Insert mode select Parameter mode by 
pressing the INSERT/PARAM soft button. 

To exit from Parameter mode press the PARAM soft key (if 
you want to edit a different plug-in) or the ASSIGN soft key 
(if you want to change assignment). 

Changing Plug-in Parameters 

Once you have selected a channel and a plug-in for editing, the 
four V-pots and their switches control the on screen 
parameters derived from the DAW plug-in. The names of the 
currently selected controls and their values are shown above 
the on-screen V-pots. 

The PAGE UP and PAGE DOWN buttons can be used to 
access all the plug-in controls. 

Hi-Resolution Parameter Display Mode 

Holding down the OPTION button while editing a plug-in parameter will show a 9-character version of the parameter value 
at the top of the Plug-In Editor display.: 

The ALT button can be used to open or close the plug-in /pop-up window at any time. 

Comparing Your Changes 

Pressing the COMPARE button allows you to compare any changes made to plug-in parameters with the values stored 
before editing. 

As soon as you change any parameter the COMPARE box will turn yellow. 

Pressing the COMPARE button toggles between the settings when you starting editing parameters and the current settings. 

The plug-in window must be opened before this function becomes available. 

Bypassing Plug-ins 

The BYPASS button allows a plug-In to be toggled in/out of the signal path in PARAM mode. In INSERT mode, 
individual plug-ins can be bypassed by holding down BYPASS and pushing the V-pot that corresponds to the insert you 
want to bypass. 

The channel SEL switch can be used to bypass all the plug-ins on a channel. 

V-pot Sensitivity 

The V-pots for the Plug-in Editor can be set to one of two modes: Fixed or Velocity-sensitive. In Fixed mode, turning a knob 
will range through the whole list of available parameters. This makes it very quick to search through long lists. Holding 
down the ALT button will enable a finer resolution scroll. 

In Velocity-sensitive mode the speed of scrolling is dependent upon how quickly you turn the V-pot. To toggle between the 
two modes press the F5 button in the Fkys menu. 



AWS 924-948 Owner's Manual 



Page 4-23 



DAW Control 



This page is intentionally almost blank 



Page 4-24 AWS 924-948 Owner's Manual 



DAW Control 



Additional HUI Displays 



Timecode/Bars & Beats/Samples Display 

The on-screen time readout can be assigned to display either Timecode (SMPTE/EBU), Feet/Frames, Bars/Beats or samples. 
This display will follow the setting selection made within your DAW. Please refer to your DAW manual for further details. 



DAW Status Display 



To the left of the timecode display is the DAW status display. This shows the following flags: 

Solo DAW has a Solo active 

Loop DAW has Loop enabled 

QPunch DAW has QuickPunch selected 

Pre DAW transport has pre-roll enabled 

Post DAW transport has post-roll enabled 

Solo DAW has a Solo active 

Audition DAW is in Audition mode. This is displayed in place of the Pre and Post flags 



Soft Key Display 

The Plug-In Editor includes an 8x8 matrix of soft buttons which map to the 1 6 
boxes at the bottom of the plug-in display: 



The top row (buttons 1-8) allow selection of the labelled function. Once 
pressed, a sub-menu will appear for the second row of soft key buttons (9- 
16). 



The menus are ordered as follows: 



Channel; 1 


bass 




Insert 1-4 
SgnlGnr m 


String 
No Insert 


S1 

No Insert No Insert 


■;•'■ • • • 


| COMPARE | 


| BYPASS | 


| ASSIGN | [ INSERT | 


Solo Loop 
Pre Post 


Quick Punch 
On Line 




umiiiiiiiiiij 


1 AuEn 


AuMo 


EdTs 


EdMo 


StGr | Fkys 


Edit 


SSL 


1 Fader 


Pan 


Plgin 


Mute 


Sendl Mute 













Soft Key Display 



I . Automation Enables 



AuEn 



Fader 



AuMo I EdTs lEdMo 



Fkys I Edit 



Pan I Plgin I Mute 



I StGr | Fkys] 
SendlsnMutel 



SSL 



Automation Enable modes (AuEn) globally engage or disengage automation for various items. See Page 4-29. 

2. Automation Modes 



AuEn 


AuMo 


EdTs 


EdMo 


StGr 


Fkys 


Edit 


SSL 


Trim 


Latch 


Touch 


Write 


Read 


Off 




1 



Automation Modes (AuMo) sets the update mode for each channel or group of channels. See Page 4-29. 



AWS 924-948 Owner's Manual 



Page 4-25 



DAW Control 



3. Edit Tools Menu 



AuEn 



Zoom 



AuMo 



Trim 



EdTs 



Select 



EdMo 



Grab 



StGr 



Scrub 



Fkys 



Pencil 



Edit 



Smart 



SSL 



\ 



Edit Tools (EdTs) displays a list of available tools used by your DAW system. For example, in Pro Tools you can select the 
Zoom, Trim, Select, Grabber, Smart Tool, Scrub and Pencil tools. 

4. Edit Modes Menu 



AuEn lAuMo 



Snuff 1 1 Slip 



EdTs I EdMo 



Spot I Grid 



StGr 



Fkys 



Edit 



SSL 



] 



Edit Modes (EdMo) displays a list of available edit modes used by your DAW system. Within Pro Tools you can select 
Shuffle, Slip, Spot and Grid modes. 

5. Status/Group Menu 



AuEn lAuMol EdTs lEdMo 



Auto I Mon |Phase iGroup 



StGr I Fkys 



Great ISuspe 



Edit 



SSL 



] 



The Status/Group (StGr) menu contains several useful functions including: 



Auto 
Mon 

Auto 

Inpt 

Aux 

MIDI 

Mstr 

Phase 

Group 

Creat 



Suspe 



Shows the Automation status of all channel faders on the channel fader scribble strips. 

Shows the monitor status of all 24 focused channels on the fader scribble strip. The labelling 
is as follows: 

Auto input mode 

Input mode only 

Auxiliary input channel 

MIDI channel 

Master Fader 

Not implemented 

Shows the grouping status of all 24 focused channels on the console. 

To create a fader group for your DAW, select SEL mode on the Master Control Panel then 
hold down the SHIFT button and press the SEL buttons on any channels you wish to 
group. Finally press the Creat button and a new group will be created. 

Fader/Mix groups can be suspended at any time by selecting Suspe; they are now disengaged 
from their respective grouping arrangements. Pressing Suspe a second time re-enables the 
groups. 



Page 4-26 



AWS 924-948 Owner's Manual 



DAW Control 



6. Function Keys 



AuEn lAuMo 



F1 



I AuMo "JdTs [EdMo | StGr | 
F2 F3 F4 F5 



Fkys I Edit 



F6 



F7 



SSL 



F8 



The F-Keys (Fkys) menu gives access to the DAW function keys. The use of the function (F) keys can vary between DAW 
applications. A standard configuration for Pro Tools is : 

Fl Peak Hold Clear for the AWS channel meters 

F5 Cycles Fixed or Velocity-sensitive modes for the V-pots 

F8 Escape 

7. EDIT Menu 



AuEn 


AuMo 


EdTs 


EdMo 


StGr 


Fkys 


Edit 


SSL 


Captu 


Separ 


Cut 


Copy 


Paste 


Delete 







The Edit (Edit) menu provides quick access to frequently used editing functions including Capture, Separate, Cut, Copy, 
Paste and Delete. 

8. SSL Menu 

This menu is used to access additional optional AWS features such as Console Setup, Automation and Total Recall. 
Information regarding these features will be found in the following sections of this manual. 

- Console Setup Menu: Section 3 

- Total Recall: Section 6 

- Automation: Section 7 



AWS 924-948 Owner's Manual 



Page 4-27 



DAW Control 



This page is intentionally almost blank 



Page 4-28 AWS 924-948 Owner's Manual 



DAW Control 



HUI Automation 

The AWS's touch sensitive moving faders can be used to write automation for the DAW fader. Most automation functions 
can be enabled from the soft key matrix below the console's display screen. Within this are menus for Automation Enables, 
Automation Modes, Grouping and Editing functions. 

A-FADA, which uses DAW automation to control analogue faders, is descibed on Page 4-7. 

Note: Automation data can usually only be written when the DAW is in Play, Half-Speed Play or Record. 

Automation Enables 



AuEn 


AuMo 


EdTs 


EdMo 


[stGr 


Fkys 


Edit 


SSL 


Fader 


Pan 


Plgin 


Mute 


Send 


SnMutc 




1 



Automation Enable modes (AuEn) globally engage or disengage automation for the following items: Faders, Pans, Plug-Ins, 
Cuts (Mute), Sends and Send Muting (SnMute). Holding down the OPTION button then pressing any of the sub menu 
buttons will toggle automation on or off for all controls. 

The Pan automation enable includes both Channel and Send Pan. 

Automation Modes 



AuEn 


AuMo 


EdTs 


EdMo 


StGr 


Fkys 


Edit 


SSL 


Trim 


Latch 


Touch 


Write 


Read 


Off 




1 



There are several Automation Modes (AuMo) available including: Write, Touch, Latch, Trim, Read and Off. 
To change automation mode on a channel select an automation mode from the soft key menu and press the auto button 
on a channel fader. Holding down OPTION then selecting an automation mode from below the TFT screen will change 
automation modes on all channels. Changes within the DAW will be reflected on the console. 

Refer to your DAW manual for more information on its specific automation features. 



Automation Status Display 

Pressing and holding the auto button to the left of a channel fader will display the current 
automation mode for that channel in the channel scribble strip display. To display the automation 
mode on all channels select the Status Group (StGr) soft menu, and press Auto. 

The automation LED indications are as follows: 
No LED Automation off 

Green LED Read automation mode 

Red Flashing LED DAW is ready to write automation in write, touch or latch modes. 

Red solid LED Writing automation data 

Red and Green LEDs Trim automation mode 




AWS 924-948 Owner's Manual 



Page 4-29 



DAW Control 




Suspending Automation 

To suspend all automation writing and playback for the entire project/session, press the SUSPEND AUTO 
button. The button will flash red to indicate that the suspend function is active. 

Writing Automation (Write to Start, End or All) 

In some DAW applications you can write automation data to the start, end or whole part of a track/selection 
in any automation mode. To perform these functions from the AWS use the following: 

CTRL+RTZ Will write automation data from the current position to the start of the 

track/selection. 

CTRL+END Will write automation data from the current position to the end of the 

track/selection. 

CTRL+SHIFT+ (END or RTZ) Will write automation data from the start to the end of the track/selection. 

Automating Switches (eg. Cuts) 

As the console's CUT buttons have no touch sense, automation will start being written when the button is first pressed. 
In Touch mode it will return to the underlying mix pass as soon as the DAW timeline reaches the next switch change.Thus 
pressing and holding a CUT button will write data for as long as the button is held, overwriting any underlying automation. 
To continue to write data until you stop select Write or Latch mode. 

This also applies to plug-in buttons. 

Automating Pans and Sends 

As the channel V-pots have no touch sense, automation data starts being written as soon as the control is moved. In Touch 
mode the system will stop writing automation and return to the previous level when you stop moving the control. 

Your DAW may have a Touch-Timeout period which provides a time limit that allows for a certain time to continue writing 
automation data, after which the value of the parameter returns to the value of the underlying automation pass. 

Alternatively to continue to write data until you stop select Write or Latch mode. 

Automating Plug- Ins 

Plug-in parameters can be automated just like other V-pots and buttons. The only difference is that some DAW applications 
require the controls to be armed using the on-screen menus within your DAW. Choose the automation button in the plug- 
in window and enable the plug-in controls to be automated. 

When automating a plug-in parameter, there is no touch sense information for the V-pot or push-push switch so in Touch 
mode data will be written for as long as the control is being moved or pressed. 

Using Write or Latch mode for automating plug-ins will continue writing automation data until the DAW stops. 

Automation Indication for Plug- In Parameters 

If a plug-in parameter is enabled for automation the red 'LED' below the on-screen V-pot will flash. When writing automation 
data, the 'LED' will light continuously. 

Refer to your DAW manual for more information on all aspects of its automation system 



Page 4-30 AWS 924-948 Owner's Manual 



DAW Control 



MCU (Mackie Control) Emulation 

The AWS expands available DAW control options by emulating the Mackie Control MIDI protocol as an alternative to the 
HUI protocol emulation. The AWS software includes dedicated front panel function key mappings for Logic, Nuendo, Sonar 
and Digital Performer. 

The Mackie Control Protocol originates from the Mackie Control Universal MIDI controller and the companion eight fader 
extender unit. The main control unit is functionally very similar to a HUI unit supporting 8 channel faders and associated 
controls, a master fader, transport controls and jog wheel, cursor keys together with dedicated function key groups for 
workstation control. Fader resolution is I Obit (1024 steps), identical to the HUI implementation. The Mackie Control Unit 
is supplied with overlay templates for different DAW packages, which label the various function key groups specifically for 
each supported DAW. In addition the default Logic grouping is supported by a number of workstations, which do not have 
dedicated overlays. These include among others Live, Sequoia, Final Cut Studio and Soundtrack Pro. 

Mackie Control Emulation Advantages 

• Supported by a large number of Workstation manufacturers including Apple, Sony and Steinberg. 

• Plug-Ins and Virtual Instruments are controlled from the Channel V-pots and can be flipped onto the Faders, a feature 
previously reserved for Pro Tools and Digidesign proprietary control surface solutions. 

• Channel meters use far less MIDI bandwidth. 

• 6 Character Labels for Track/Channel Names and parameter information. 

• Master Fader control. 

Implementation 

In Mackie Control mode the AWS emulates a Mackie Control Master Console plus two Mackie Extender sections. For all 
supported workstations, the AWS should be configured in the relevant Control Surface set up menu, as two extenders plus 
a main Mackie Control unit. The set up layout should assign the extenders as channels 9-24 and a Mackie Control unit as 
channels 1-8. Plug-Ins and Instruments will have their parameters assigned left justified on to the AWS channel V-pots. 

The console Master section DAW control keys map to the workstation functions according to the active control template. 
This is selected from SSL>MISC>SETUP menu. 



Misc 


TR 


Auto 


Lnks 






DAW 


SSL 


DAW1 


DAW2 















Four dedicated DAW templates are supported, Logic, Nuendo (also used for Cubase), Sonar and Digital Performer. The 
Logic template can also be used as a generic interface for Live, Final Cut Pro and other software that supports the standard 
Mackie Control surface function key grouping. The AWS includes the additional key caps to support the four function 
templates. The software also allows simultaneous control of two independent Digital Audio Workstations. They can be 
assigned in the SSL>MISC>SETUP menu. 

The active DAW is selected on the SSL>DAW menu (shown above). Note that DAW layer I uses ipMIDI ports 
I -3 and DAW layer 2 uses ipMIDI ports 4-6. 



AWS 924-948 Owner's Manual 



Page 4-31 



DAW Control 



The majority of DAW functions are controlled via dedicated AWS front panel switches - less reliance is placed on the 8x8 
soft key matrix located beneath the TFT screen than with the HUI protocol. 

All Plug-In editing is via the channel V-pots. The four encoders together with the six switches below the centre section 
monitor screen are not used with the Mackie Control protocol. 

On the channel fader strips, the Auto key and associated status LEDs are also not implemented by the protocol. All other 
controls, the V-pot and associated encoder switch, DAW channel Solo and Cut plus the Select and Ready functions, are 
fully supported. 

Only mono metering information is returned from the workstation. On stereo channels the maximum value of the left or 
right channel is displayed. The master fader is also included in the DAW layer when a Mackie Control template is active. 

The ten keys located above master transport keys provide different related motion control functions according to the 
active template. When required tallies for these keys will be displayed on the TFT display in the area next to the DAW 
timeline counter. 

The Jog Wheel together with the Scrub function key, and the Cursor keys and Cursor mode switch are active in all templates. 
The outer Jog Wheel is not supported, neither is the numeric keypad. However the I -8 keys replicate F I - F8 Function keys 
in certain templates. 



Page 4-32 AWS 924-948 Owner's Manual 



DAW Control 



DAW Control Function Key Overview 

As far as possible all function key templates use key groupings and layouts which follow the original Mackie Control surface 
groupings to simplify moving from one DAW platform to another. 




o 







Channel V-pot Functions and Display options. The Encoder switch flips V-pot Parameters on to the 
channel faders. The encoder itself is not used in any of the Mackie Control templates. CHANNEL 
has the same functions as in the HUI Mode and assigns either the Console or DAW channel level 
control to the V-pot according to the state of the Master Console Focus control. 

As with the HUI protocol, the RDY and SEL keys determine the function of the Channel strip SEL 
key. Default is the SEL(ECT) function, RDY accesses DAW track arming from the channel strip via 
the SEL key. The centre key is used as a discrete function key in some of the templates and 
corresponds to the EDIT/GLOBAL key located next to the FLIP key on a Mackie Control Unit. 

Channel and Control surface banking - identical to the HUI Mode. 



s 
s 
s 

[ 6 | f 7 1 [ 8 | Dedicated Function(s) - Template specific. 



Project/Menu Keys - Similar style functions to HUI mode but template specific. 



Modifier keys - Layout and Name template specific. 



AWS 924-948 Owner's Manual 



Page 4-33 



DAW Control 



The Logic Template 

The AWS emulates a Mackie Control plus two Mackie XT fader expanders. The Logic Control Surface set up should be 
configured as shown below in the Logic Preferences menu. 



Mtfuk: Logic Cornr* 

Virmn: V1.0 

<*ftir r~~l 

T**nH»n Bunon Click; 

Tou<hlw+ i*QV*b'* lirltn Q 

F**tr Touch Swarwny 3 

t.ci nhi :■.;,<■ Ti"to^Cmiii: Li 

ttntfNc. LfH5Sr 
▼ Control Surfit* -Croup* ■ 



EQ '..-.•-■ :■ 
EC] KlulnWIrl Piiji. 



it-,: *x-ini Kjyr li^il Li 



I, L 






hun-:n fjunirl* I K-iiji U 
Mu-p-in Kl-iiii Hjiji liflll LowMI. U 

Chinml MnU Ti Jtk 267173 
Chinii.1 Strid Tiiik liffiL L«s*i>. iiliTi 

D 



TliCk HlrtM fuin:j.! f 




^ 



Logic Console Layout 



RDY 



[global 


" 


TRACK 1 


1 SEND 1 








Igianmil 


PAN 


1 PLUG-IN 1 








1 NAME 
I VALUE 


hi 


INST 




ICHANNELl 



SAVE I I UNDO 



ESC 



MARKER 



NUDGE 





Major changes compared to the HUI front panel are Automation modes replacing the Screen display select keys and the 
inclusion of the MARKER and NUDGE functions. GLOBAL uses the 8x8 matrix keys to select the different view 
options. CHANNEL is unchanged and assigns the AWS channel gain element to the V-pot. The Encoder switch is used 
to 'flip' parameters on to the fader but the encoder itself has no function. The Display indicates V-pot mode with a two- 
character label. Plug-ins are controlled from the channel V-pots so there is no longer an 'EDIT' select mode for the channel 
SEL key. 



Page 4-34 



AWS 924-948 Owner's Manual 



DAW Control 



Transport Function Key Layout 




CYCLE I I DROP I REPLACE CLICK 



Only five of the ten keys above the Motion controls are assigned. These have on screen tallies in the status area of the TFT 
display. 

Full operational documentation for using Logic with Mackie Control and Extender units can be found in Logic Pro 9 
Dedicated Control Surface Support (Manual) which can be downloaded from: 

http://www.apple.com/support/manuals/logicpro/ 

Logic Control screen 




VIEW is selected automatically by the GLOBAL key to access the eight Global View select keys. It can also be selected 
manually if required. There are no tallies for the selected view. VIEW is an AWS function and not part of the MCU 
protocol. 



VIEW 


Fkys 












SSL 


MIDI 


Input 


Audio 


Inst 


Aux 


Bus 


Output 


User 



Fkys are the eight functions keys as on the HUI interface. These are also permanently mapped to the numeric keypad, which 
is not supported in the Mackie Control protocol. 

A Solo tally is displayed in the on-screen Status area. This corresponds to the front panel LED on a MCU. 



AWS 924-948 Owner's Manual 



Page 4-35 



DAW Control 



Nuendo/Cubase Template 

As with the other templates the AWS emulates a Mackie Control Main unit plus two Mackie Control Extenders. MIDI 
Control surface assignment is set up in the Remote Device list. Nuendo does not have separate profiles for the Mackie 
Extender, so three Mackie Control units are entered in to the device list with the top most unit corresponding to AWS 
channels 17-24 and the other units mapped to the remaining channels in descending order. 



Device Setup 




[J MIDI 

© MIDI Port Setup 
Remote Devices 
Generic Remote 



Mackie Control 



Mackie Control 2 
Mackie Control 3 
Quick Controls 
| Transport 

Time Base 

Time Display 

Video 

*» Video Player 
♦+ VST Audio System 

Built-in Audio 
VST System Link 



Mackie Control 



ipMlDI Port 



| ipMlDI Port I | a 




Sutton Category 


Command 


User A 




* 


UserB 








Fl 








Shift+Fl 








F2 








Shift + F2 








F3 








Shift+F3 








F4 








Shift + F4 








F5 








Shift +FS 








F6 






' 


Shift +F6 






F7 






A 


Shift +F7 








cc 




L 





MIDI Input 
MIDI Output 



Enable Auto Select 
Relay Click 

( Help ) 



( Reset ~) ( Apply ) 



Cancel ) ( OK 



Page 4-36 



AWS 924-948 Owner's Manual 



DAW Control 



Nuendo Console Layout 




^1 BcHANNE lI h^ ^* READ I WRITE I 



KPROJ 
■= 

MIX 




The majority of Nuendo or Cubase functions are controlled via dedicated keys with virtually no reliance on the 8x8 key 
matrix located beneath the screen. Full details are available in the Mackie Control and Nuendo document available from the 
Nuendo download page. 

Major changes compared to the HUI front panel are the new control set for assigning processing parameters to the V-pots. 

Up and down page keys for V-pot parameters are located with the Shift key block. The rotary encoder will also output the 
page up/down commands when turned left or right. 

RDY and SEL control the function of the Channel SEL key as in the HUI interface. The EDIT key is used to open editing 
windows in Nuendo or Cubase for the current selection. EDIT together with SHIFT will close an active window. 

CHANNEL is unchanged and assigns the AWS channel gain element or DAW channel to the V-pot according to the state 
of the Console Focus key. The Encoder switch is used to 'flip' parameters on to the faders as before but now includes all 
processing parameters not just send levels. 

The Keys above the Motion controls are assigned to related transport functions as on the HUI interface. 



PREV 




ADD 




NEXT 




























LEFT 




RIGHT 




CYCLE 




PUNCH 







The Cycle and Punch tallies are displayed in the status area of the TFT display. 



AWS 924-948 Owner's Manual 



Page 4-37 



DAW Control 



Nuendo Control screen 




Fkys are the eight functions keys. These are also mapped to the numeric keypad, which is not supported in Logic Control. 



Fkys 


Grp 












SSL 


F1 


F2 


F3 


F4 


F5 


F6 


F7 


2} 



Grps are the eight Fader Group keys. 



Fkys 


Grp 












SSL 


G1 


G2 


G3 


G4 


G5 


G6 


G7 


G8 || 



Page 4-38 



AWS 924-948 Owner's Manual 



DAW Control 



The Sonar Template 

The AWS emulates a Mackie Control (MCU) plus two Mackie Control Extenders. Configure the MIDI input and output ports 
as below in the Controllers/Surfaces page of Sonar's Options menu (substitute ipMIDI ports 4-6 for ports 1-3 if Sonar is to 
be used on the second AWS DAW layer) 

C o nt io I le rs/S u rf aces 





Controller/Surface 


In Port 


Out Port | A... | W.. ! WAI color I 


Mackie Control - 1 


1. Ethernet MIDI 


T. Ethernet MIDI 


E 


Mackie Control XT - 1 


2. Ethernet MIDI 


2. Ethernet MIDI 

3. Ethernet MIDI 




Mackie Control XT - 2 


3. Ethernet MIDI 















































Close 
Help 



XI 



mazmwmm 



Import ACT Data... 



Track View 


Console View 


O Track View 


O Console View 


All Strips 


[ MIDI Devices... ] 



Once the MIDI ports are configured, select the Mackie Control device from Sonar's Tools menu to open the Mackie Control 
properties page, and use the Configure Layout feature to map the AWS channels to the Sonar mixer channels using the AWS 
channel V-pots, as prompted on the channel scribble strip displays (note: the AWS must be in DAW focus mode). 



cs 




PHI 


J 




LzJlidJI 


Presets: 


"Hflxl 
























F1: Views I Loop Explorer v 


© Measures Beats O Ticks 








F2: | Views I Loop Construction |. v | 






Measures O Beats O Ticks 




F3: | Views I Console | v | 






F4: | Views I Event List Lvl 


Time Display Format 

MBT O HMSF 




F5: | Views I Piano Roll 


M 


. 




F6: | Views I Video 




I I Disable fader movements 
I I Disable relay click 
I I Disable LCD updates 
I I Solo selects channel 
I I Fader touch selects channel 




F7: | Views I Staff [v] 




F8: Views I Lyrics 


M 




. 












A: | Transport I Play |v] 




B: Transport I Record 


M 


M eters: | S ignal LE D s + M eters f v] 




























| Master |.v| 


QZ ZM 


Configure Layout 














D ress F1 for Help. 


Chris Boucher <chrisCs 


. 


rted.org> Copyright © 2002-2006, Cakewalk 





AWS 924-948 Owner's Manual 



Page 4-39 



DAW Control 



Sonar Console Layout 



Itracks 


\\ J J 


1 TRACK 




SEND 










1 CHANNEL 


PAN 




PLUG-IN 










BUS 


EQ 




DYN 


^^ m 


Push to Flip 


^^B^H 













MAIN 




EHD ED 



The majority of functions are controlled via dedicated keys with less reliance on the 8x8 key matrix located beneath the 
screen than with the HUI version. 

Main changes compared to the HUI front panel are: 

New Function grouping to assign parameters the Channel V-pots. CHANNEL is unchanged and assigns the AWS channel 
gain element or DAW channel to the V-pot according to the state of the Console Focus key. The Encoder switch is used 
to 'flip' parameters on to the faders as before but now includes all processing parameters not just send levels. Two 'Flip' 
modes are available, Duplicate or Exchange, selected via a single or double operation of the encoder switch. 

As in the original HUI three key group that controls the function of the channel SEL key, for the Sonar Template SEL and 
RDY control whether the SEL key sends the SEL and REC/RDY MIDI codes. EDIT is now a dedicated function equivalent 
to the MCU EDIT/GLOBAL function located in the FADER BANKS section. 

The display above the encoder will show the two character plus decimal point Assignment window from the MCU. 

The Keys above the transport controls are designated as shown below: 





MARKER 




LOOP 




SELECT 




PUNCH 




KEYPAD 




























JOG 
PARAM 




LOOP 
ON/OFF 




HOME 













Tallies are shown in the status area of the TFT display for Loop ON/OFF, Jog Parameter, together with tallies for Marker, 
Loop, Select and Punch. As the later functions intercancel, they share the same on screen area. 

Keypad is not a direct MCU function. It will enable the Numerical keypad 0...9 keys plus the '.', '-', and ENTER and CLR 
keys for data entry. When operated it sends the codes that correspond to M I ON, EDIT ON, EDIT OFF, M I OFF and then 
enables the numeric key pad keys to send the MIDI codes that correspond to the I to 8 keys on the Sonar overlay and the 
4 TRACKS keys. ENTER mimics the main ENTER Key, and CLR the CANCEL Key. A second operation of the KEYPAD 
key inhibits the Numeric key pad outputting MIDI codes and should send an EDIT ON, EDIT OFF command to cancel the 
mode. 



Page 4-40 



AWS 924-948 Owner's Manual 



DAW Control 



Sonar Control screen 

The 8x8 key matrix is used to access three Sonar MCU function groups. 




Fkys are the eight functions keys. These are defined in Sonar and also output Edit commands in conjunction with a Modifier 
key. 



Fkys 


AUTO 


Trks 










SSL 


F1 


F2 


F3 


F4 


F5 


F6 


F7 


JM 



AUTO calls up three Automation functions, Snapshot, Disarm and Offset. The main automation Read/Off key is mapped 
to a dedicated front panel switch. 



Fkys 


AUTO 


Trks 










SSL 


Snap 


Darm 


Ofst 










_l 



Trks bring the four Tracks function keys on to the bottom row of soft keys. 



Fkys 


AUTO 


Trks 










SSL 


NAud 


NMid 


FitA 


FitP 








—I 



AWS 924-948 Owner's Manual 



Page 4-41 



DAW Control 



Digital Performer Template 

The AWS emulates a Mackie Control Unit plus two Mackie Control Extenders. The Control Surface set up menu is located 
in the Digital Performer Setup Menu. 



Control Surface 










O LttWi io control surfaces in background 










DilW 




• 

- 






[Mack* Control ▼] 
una MIDI 






[Madoe Control ▼] [pMiDiPon M 
[etpanoer (XT) ▼] [oMIDI Port 2-1 
[Expand* (XT) v| [pMIDI Port 3-1 


H 
H 
H 














Note: too io Bottom = Left to Right 


















Cane* 


)( 


OK 











Assign the AWS MIDI ports so that the console faders map correctly to the DAW tracks with the Mackie Control Unit as 
channels 17-24. 

Digital Performer Console Layout 




The majority of functions are controlled via dedicated keys with less reliance on the 8x8 key matrix located beneath the 
screen than the HUI interface. 

Main changes compared to the HUI front panel are: 

• New Function grouping to assign parameters the Channel V-pots. CHANNEL is unchanged and assigns the AWS 
channel gain element or DAW channel to the V-pot according to the state of the Console Focus key. 

• The Encoder switch is used to 'flip' parameters on to the faders as before but now includes all processing parameters 
not just send levels. The EDIT key is the standard MCU Edit (or Global View) command key, it does not affect the 
operation of the channel SEL keys which can be flipped between the Ready (RDY) and Select (SEL) functions as per 
the HUI mapping. 



Page 4-42 



AWS 924-948 Owner's Manual 



DAW Control 



The Keys above the Motion controls are assigned to related transport functions as on the HUI interface. 





EDIT 
GRID 




EXT 
SYNC 




MEM 
LINK 




PRE/ 
POST 




SOLO 




RTZ 


MARKER 


CYCLE 


PUNCH 


SELECT 

























On screen tallies are provided for the Marker Key, together with a second tally for the MCU 'Rude Solo' indicator. 

Digital Performer Control screen 

Two sets of menu keys are accessed via the 8x8 soft key matrix. 




AUTO calls up the six Automation modes. 



AUTO 


REC 












SSL 


READ 


TOUCH 


TRIMT 


OWRT 


LATCH 


TRIML 




-J 



REC are the Record set-up functions. 



AUTO 


REC 












SSL 


CLICK 


COUNT 


ODUB 


THRU 


CLEAR 






1 



AWS 924-948 Owner's Manual 



Page 4-43 



DAW Control 



This page is intentionally almost blank 



Page 4-44 AWS 924-948 Owner's Manual 



Solid State Logic 

SOUND VISION 



AWS 924-948 
Owner's Manual 



SECTION 5 

Projects and 
The Remote Browser 



Projects and the Remote 



This page is intentionally almost blank 



Page 5-ii AWS 924-948 Owner's Manual 



Projects and the Remote 



Section Contents 



Section Contents 
Introduction 

Working with Projects and Titles 
AWS Remote 
MIDI SysEx data 

Connecting the Remote to the Console 
The Projects Tab 

Copying Titles, Total Recall and Mix data between Projects 
Renaming Projects, Titles, Mixes or Total Recall Setups 
Backing up a Project 
Restoring a Project 

The Mixes Tab 
The Total Recall Tab 
The Channels Tab 
The Externals Tab 
The About Tab 



5-in 
5-1 

5-1 
5-1 
5-1 

5-3 
5-5 

5-6 
5-6 
5-6 
5-6 

5-7 

5-9 

5-11 

5-13 

5-15 



AWS 924-948 Owner's Manual 



Page S-iii 



Projects and the Remote 



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Page 5-iv AWS 924-948 Owner's Manual 



Projects and the Remote 



PROJECTS AND THE REMOTE BROWSER 



Introduction 

Working with Projects and Titles 

The AWS Remote browser allows session data to be stored in 'Projects', each of which can have multiple Titles'. For 
example, an album might be a Project and the songs on the album might be the Titles within it. The Project data is held on 
the console's SD card and can be archived as a single zip file containing all the Mixes, TR setups, channel scribble strip 
names and project notes currently saved in memory, for external storage or project relocations. 

Important Note: The AWS does not observe the SD card 'Lock' function, used on some equipment to protect 
data from being overwritted. This means that it is possible to overwrite mixes on a card even when Lock is activated. 



At least one Project and Title must be present before you can store an automated Mix. Select SSL followed by Proj. Now 
select New Proj and the system will create a new Project and Title; logically these will be named Project I and Title I (if 
no previous projects exist). 

If Projects have been previously created, when you press 
the Proj key, the screen will display a list of existing 
Projects. Use the left-hand encoder to scroll through the 
list and when you find the Project you require, press the 
encoder switch (or soft key below the encoder) that 
represents the Select function. This makes that Project 
current (as indicated by the entry being highlighted in 
yellow, with the word selected after its name) and 
reveals the Titles in that Project. To create a new Title in 
a Project, select New Title. Titles and Projects are 
automatically numbered in sequence of creation. Select 
Copy Title to copy the selected Title. 



Note that the top line of the display always indicates the 
current Project and current Title. Use the Select rotary 
control to scroll through lists of Projects, Titles, etc., and 
the encoder switch to select them. To return at any time 
to the Project list, press the encoder switch for Back. 



Project 1 ;; Title 1 


Project 1 : : Title 1 - selected 




^ 


Project 2 : : Title 2 


T 


Select Back 


NewTitle 


1 CopyTitle 


i 


i 


Proj 


TR 


AutO 


Lnks 


Misc 




Daw 


SSL | 














Del 


Con 1 



AWS Remote 

The AWS Remote Browser is used to manage Projects and their associated files. It also allows renaming of mixes, TR 
setups, channel scribble strips and monitor external sources, and includes space for session notes. 

The Remote software is a Java application that runs on both Mac and PC. Section I describes how to install the application 
and how to configure the network connection to the console. 

Note that the network connection can also be used to connect MIDI data between console and computer, as also 
described in Section I . 

MIDI SysExdata 

Mixes and TR Setups saved as MIDI SysEx dumps using earlier versions of software can be uploaded using either ipMIDI port 
8 or MIDI port 4 (dependent on which MIDI system is enabled in the desk MISC>SETUP menu), then saved off as part 
of a new Project. 

Sections 6 (Total Recall) and 7 (Automation) detail how to use this feature. 



AWS 924-948 Owner's Manual 



Page 5- / 



Projects and the Remote 



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Page 5-2 AWS 924-948 Owner's Manual 



Projects and the Remote 



Connecting the Remote to the Console 

Double click on the Remote icon to run the software - see Section I for details of installation. 

When the Remote first opens, it searches for an AWS console to control. If it finds one, it will automatically link to that 
console. This will be indicated by the Status at the bottom of the Remote window displaying a green 'AWS 924-948 
SN XXXXX is online' message (where SN XXX is the ID of the console). 



Solid State Logic || AW5S24 94S Remote Vl.0/2 



Solid State Logic 

■ i l : || v i ; i a t, 

AWS 924-948 

L M— 








iiiu'IiiVi\m 


WfnfMHimuhws 


— — " M -* — ■! 



Projects 



D «^ Projects. 

fe-£i Words- Aw ay 
_ Total Recall 

j BASIC SETUP 
1 48 CH MIX 

Mix Pa&SBE 
1 MIX 1 
D | Rhythm Out 
E A Total Recall 
Ei .. Mix Passes 
S — HelKMpter 
B — StonsB Throw 



Project 

Name- 

■Vise 
Client: 
Summary: 




| Milam jones Fire-Lives 




| Miriam Jones 




| ia-n Wetmore. Big Bucks Records 




| T roublesotrie Client. 





TIHSt 






Name: 

Producer: 

Engineer': 

Assistant: 

Summary 

Notes' 


Wds Away 








Man Hay 








Malt Hay 








Q 








r>ie louoer. 



















itstiis; PrujGCE 'HI**: 

IW5948 SH 11649 b oritne Miriam Jqnes Flre-Uves Wgnfc Away 



The first time you run the software the status bar will display the message 'No AWS Found, click on Find' in red. If 
the Remote cannot find the console it usually connects to, it will display 'AWS 924-948 SN XXXXX is offline'. 

• If this happens, check your connections and press G£ (in the bottom left corner of the Remote window) to bring up 
the Find pop-up and press the Find button in the top right-hand corner to rescan for consoles. 

• When the Remote finds any consoles, they will appear in the pop-up. Check the Select box for the required console 
and click on OK. 







1 




I 




AWS943 SN 2 


Online 
Online 






IK 
■ 







AWS 924-948 Owner's Manual 



Page 5-3 



Projects and the Remote 



Once a connection has been made to the console, the green 'AWS 924-948 SN XXXXX is online' message will 
appear in the Status field: 



Once you have successfully connected to the console, the Remote pages will become populated with the current data 
stored on the console. 

The tabs which will be visible allow you to do the following: 

Projects Change Project and Title names, add or edit info, and manage session data. 

Mixes Rename and delete Mix passes 

Total Recall Rename and delete Total Recall setups 

Channels Rename channel scribble strip displays 

Externals Rename EXT A and EXT B source names 

About Shows current software version of console and remote, links to the SSL website 



Page 5-4 



AWS 924-948 Owner's Manual 



Projects and the Remote 



The Projects Tab 

This shows a range of details for the current Project. 



Solid State Logic 1 1 AW592444S R 



Solid State Logic 



AWS 924-948 




Projects 



Projects 

D _^ Projects 

* - liBiCTFHgEEB 

£)-ft WordaAway 
_. Total Recall 

I BASIC SETUP 
J 48 CH MIX 
rtix Patses 
1 MIX 1 
D ^ Rhythm Out 
a M Total Recall 
Ei ^ Mix Paases 
ffi — NelKMpter 
Ei ^ Stones Th row 



Total RecaJI Channels 



Nates 




Name: 
Arose 

Client: 
Sum mary. 




|MlHamjonesFire-Lr«5 




| Miriam Jones 




| Sa-n WetTiore. Big Bucks Records 




| T noublesotne Client. 





Title, 






Name: 

Producer: 

Engineer: 

Assistant: 

Sum mary 

Notes 


Wofds Away 








Man Hay 






Matt Hay 




Q 




r>^e louder, 












Clicking on the '+' (or '►') sign to the left of the Projects folder will list all available Projects. Clicking the '+' (or '►') sign 
to the left of one of the listed Projects will expand the folder to show the Titles contained in the folder. Expanding a Title 
folder will show folders for Mix Passes and Total Recalls. 

Each Project contains: 

• Multiple Mixes (number limited by available memory) 

• Multiple Total Recall Setups (number limited by available memory) 

• Fader Link setup 

• Channel scribble strip text 

• Project Notes, Artist, Engineer etc details 



AWS 924-948 Owner's Manual 



Page 5-5 



Projects and the Remote 



Copying Titles, Total Recall and Mix data between Projects 

Titles (including Total Recall and Mix Pass folders) can be copied between Projects by dragging and dropping their folders. 

To copy Total Recall and Mix Pass data between folders, right click on the file you wish to copy and select Copy, then right 
click on the destination folder (Total Recall or Mix Pass) and select Paste. Any existing names will not be kept when 
copying data between projects or titles - the system will automatically name the copy with the next available default name 
(e.g Mix 5). Note that only root Total Recall and Mix Pass files can be copied, not the folders containing them. Files can also 
be dragged and dropped. 

You will be asked for confirmation when copying data and given the opportunity to cancel. 



AWS 948 TRANSFER COMPATABILITY 

Note that when loading Titles created on a 900 or 924 onto a 948, the automation is applied to both sides of a stereo 
channel. In In-Line modes, automation is applied to the primary channel path, and the secondary channel path drops into 
Manual. 

Total Recall Auto Scan will not work on these titles as it will find uncorrectable mismatches between setups. 



Renaming Projects, Titles, Mixes or Total Recall Setups 

In order to rename a file or folder, right click (Mac: '<Ctrl> click') the file or folder and select 'Rename'. Enter the name 
then click on OK. 

Backing up a Project 

To create a .zip backup of the project, right click (Mac: '<Ctrl> click') on the project name and select 'Backup Project'. 
A pop-up will appear asking for a name and location to which to save the .zip file. 

Restoring a Project 

To restore a .zip backup of a project, right click (Mac: '<Ctrl> click'), on the top-level 'Projects' folder, then select 
'Restore Project'. A pop-up will appear asking for the name of the .zip file to restore to the Projects list - click on the 
desired project to select it. The restored project will be restored under its original name followed by "(restored project)"; 
projects with the same name will not be overwritten. 



Page 5-6 AWS 924-948 Owner's Manual 



Projects and the Remote 



The Mixes Tab 




Mix l: FlADIQEDn- 

Mix 2: vocal up -> Based on Mix 1 

Nix 3: VOCAL DOWN -> Based on Mix 2 

Mix 4: INSTRUMENTAL -> Based on Mix 3 

Mix 5: vocal only -> Based on Mix 4 



Mixes Total Recall Channels Externals Aboul 



[ 




The Mixes tab will show you a list of all current mix passes associated with your current project. 

To rename one of your Mix passes, highlight the one which you would wish to change and press the Rename Mix button. 
Type a new name in the pop-up which appears and press OK. 

To delete a Mix Pass, highlight the one which you would like to delete and press the Delete Mix button, then click OK 
in the warning pop-up which appears. 

Note that ranges of entries can be selected for renaming or deleting together - select the first entry, then hold 
shift and select the last entry. Rename or delete confirmation pop-ups will appear for each entry in turn. 



AWS 924-948 Owner's Manual 



Page 5-7 



Projects and the Remote 



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Page 5-8 AWS 924-948 Owner's Manual 



Projects and the Remote 



The Total Recall Tab 




Ptqects Mixes Tolal Recal Channels Externals fito\A 



Total Recall Setups 



TR 1. RECORDING 
TR2. MKHC 
TR 3" NEW DRUMS 
TR4- OVERDUE 
TR 5. DUB MIX 




Rename Setup 
Delete Setup 




The Total Recall tab will show you all Total Recall setups for your current project. 

If you would like to rename one of your Total Recall setups, highlight the one which you would wish to change and press 
the Rename Setup button. 

If you would like to delete a Total Recall set up, highlight the one which you would like to delete and press the Delete 
Setup button. 

Note that ranges of entries can be selected for renaming or deleting together - select the first entry, then hold 
shift and select the last entry. Rename or delete confirmation pop-ups will appear for each entry in turn. 



AWS 924-948 Owner's Manual 



Page 5-9 



Projects and the Remote 



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Page 5-10 AWS 924-948 Owner's Manual 



Projects and the Remote 



The Channels Tab 




Edit Channel Names 



Prcjsris 



Total RecaJI Channela Externals Abou( 

























Pare L 
BD back 


Fare R 
BO back 


' Claps 1 
9un tp 


4 Claps 2 
Snr bctm 


Chan 31 

HiHat 


h 

Chan 32 

Tonil 


7 

Chan 33 

Tcaa2 


Qian 34 
T«i3 


























9 

St OH 


Cban 36 

Baa a 


11 Chan 37 
El Gitl 


Chan 38 
Sid* Git 


Chan 3 9 
AC Oitl 


LI 

St Piano 


15 

Bt pno 2 


Cban 42 

El Git 2 


























11 BV Kirl 
Kir Vxl 


■" BV Mir2 

Mir Vk2 


15 BV Jkdl 
HLr Vx3 


M BV Ad2 
Mir VSe4 


21 Chan 47 


22 Chan 4B 23 M | 

PLATE KEY ECHO 


























c 


3 ear Names 


Reser Names 














The Channels tab allows you to enter names for the AWS console channel scribble strips. 
Note that the AWS 924 only displays one row of channel labels in the Channels tab. 

To change a Channel name, click on the desired field and type the desired name (to a maximum of 8 characters). 

It is also possible to clear all channel names by pressing the Clear Names button. You can reset them to the default 
numbered layout by pressing the Reset Names button. 

Furthermore you can use your computer keyboard's TAB', 'SHIFT' and navigation arrows to move within and between the 
fields. 

The channel names are stored as part of each project, so loading a different project will automatically reset the channel 
scribble strips to the stored set of names. 



AWS 924-948 Owner's Manual 



Page 5-1 1 



Projects and the Remote 



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Page 5-12 AWS 924-948 Owner's Manual 



Projects and the Remote 



The Externals Tab 




The Externals tab allows you to rename the External sources (Ext A + Ext B). These will appear on your console's 
monitor section. 

To rename a source simply click on the desired field and enter your prefered name (to a maximum of 4 characters). 

Furthermore you can use your computer keyboard's TAB', 'SHIFT' and navigation arrows to browse the fields. 

External names are stored in the console in non-volatile RAM so they are retained after restarting or powering off. 
Also note that External names are not project-specific 



AWS 924-948 Owner's Manual 



Page 5-13 



Projects and the Remote 



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Page 5-14 AWS 924-948 Owner's Manual 



Projects and the Remote 



The About Tab 




About AW5924-94B Remote 



Projsds 



Remote: vi.D/a 

A.W59Z 4948: V3,9f2 



solid smc Logic || website utiles 



_*q_ 



Total Recall Chanimls Extern* Afioul 





The About tab shows the current software versions of both console and browser and provides links to the SSL Support, 
FAQ's, Downloads and Registration areas of the SSL website. 



AWS 924-948 Owner's Manual 



Page 5-15 



Projects and the Remote 



This page is intentionally almost blank 



Page 5-/6 AWS 924-948 Owner's Manual 



Solid State Logic 

SOUND VISION 



AWS 924-948 
Owner's Manual 



SECTION 6 

Total Recall 



Total Recall 



This page is intentionally almost blank 



Page 6-i7 AWS 924-948 Owner's Manual 



Total Recall 



Section Contents 

Section Contents 6-iii 

Overview 6- 1 

Accessing Total Recall 6-1 

Selecting TR Setups 6-3 

Changing the selected setup 6-3 

Matching the Console to the TR 6-5 

Display Overview 6-5 

Correcting controls 6-5 

Auto Scan 6-5 

The Channel Display 6-6 

Setting soft switches 6-6 

Copying and Swapping settings between channels 6-6 

Centre section displays 6-7 

Compressor and Foldback 6-7 

Dynamics and Bus Masters 6-7 

Stereo Returns 6-7 

Additional TR Functions 6-9 

Storing setups 6-9 

Deleting Setups 6-9 

Restoring Legacy MIDI Setups from a Mac or PC 6-9 

Total Recall via Logictivity 6- 1 1 



AWS 924-948 Owner's Manual Page 6-iii 



Total Recall 



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Page 6-iV AWS 924-948 Owner's Manual 



Total Recall 



TOTAL RECALL 



Overview 

The AWS Total Recall system uses the inboard TFT screen to give a graphical display of current and stored control settings 
of all rotary controls, faders and switches on the AWS channel and centre section modules. Controls that are in different 
positions from the stored values are highlighted in white (faders and rotary controls) or yellow (switches). To provide 
maximum clarity rotary controls are shown as horizontal sliders and switches as boxes. 

Electronically latched switches ('soft' switches) in the channel strips, such as routing, EQ, Insert, Dynamics and Cut switches, 
can be reset to match the stored setup with a double-press on the fader switch. 

Stored setups can be copied or swapped between channels by holding down the fader switch on the source channel then 
pressing the fader switch on the destination channel. If the Copy switch is selected the source channel settings are copied 
to the destination channel: if not the source and destination channel settings are swapped. See Page 6-6. 

Up to 32 different TR setups can be stored in local memory on the AWS. An unlimited number can be saved via Logictivity 
through the AWS Remote browser. For legacy purposes, data saved as a MIDI SysEx file can also be loaded to the AWS by 
playing through a MIDI SysEx track. See Page 6-9 for more details. 

Accessing Total Recall 

Total Recall is accessed using the TFT screen and the soft keys beneath it.The 16 boxes at the base of the screen indicate 
the functions assigned to the 16 buttons in two rows of eight below the screen. The four boxes above them indicate the 
functions assigned to the central four buttons in the row of six. Note that the two outside buttons are used for scrolling 
left and right, where relevant. 

Use the soft keys to select SSL then TR to access the main Total Recall menu. 




AWS 924-948 Owner's Manual 



Page 6- / 



Total Recall 



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Page 6-2 AWS 924-948 Owner's Manual 



Setup Guide: /O Config 



Selecting TR Setups 

The Sel menu is the main file menu for the Total Recall system. The main window shows a list of stored setups.The setup 
which is being displayed has the word 'selected' next to it. 



selected shows which 

setup is currently being 

displayed 



Shows function of the 
top four soft keys 



Left hand rotary 

control scrolls through 

the list of setups 



Press the Sel key or 

the rotary control 

push-push switch to 

choose which Setup is 

displayed 



Press STORE 

key to store a 

new Setup 




Yellow cursor indicates 
the chosen setup 



Shows function of the 
lower sixteen soft keys 



Hold down DELETE 
then press CONFIRM 

to delete the highlighted 
setup 



COPY key 

selects Channel 
Copy mode 



LOAD key for 

loading MIDI SysEx 
setups from computer 



Changing the selected setup 



The left hand rotary control can be used to scroll through the list of TR setups.A yellow cursor indicates which setup is 
currently chosen to be modified. Either the SELECT soft key or the rotary encoder's push-push switch can be used to select 
the highlighted setup for display.The 'selected' message will appear next to the setup to indicate that it is being displayed. 



AWS 924-948 Owner's Manual 



Page 6-3 



Setup Guide: lO Config 



This page is intentionally almost blank 



Page 6-4 AWS 924-948 Owner's Manual 



Setup Guide: lO Config 



Matching the Console to the TR 

Display Overview 

There are four Total Recall display pages.These are selected using the four soft keys to the right of the Sel button: Chan 
for the channel strips, CmFb for the bus compressor, foldback busses and main faders, DynB for the dynamics, track busses 
and cue/FX busses, and StRt for the stereo returns. 

In each screen, the controls within each section match the layout and colour scheme of the controls on the console. A small 
amount of trial and error may be involved in familiarising yourself with the layout of the displays. 

Controls that are in different positions from the stored values are highlighted in white (faders and rotary controls) or yellow 
(switches). To provide maximum clarity rotary controls are shown as horizontal sliders and switches as boxes. 

The VGA output on the back of the console allows the displays to be viewed on a larger external monitor, making 
them easier to discern. See Section I for details. 

Correcting Controls 

While all soft controls can be reset automatically within the procedure, all latching switches and pots must be reset manually. 
Pots are corrected by moving the control until its white line in the display matches its corresponding coloured line in the 
display. 

Not usable with the SEL menu selected. 

Auto Scan 

Pressing the Scan soft key will scan all channels, starting with Channel I and moving right, until a discrepancy is found. The 
red fader LED on the channel with the discrepancies will light and its channel controls will be displayed in the TFT screen. 

Once the control positions have been corrected, the fader LED will go green and the scan will continue until it finds 
another channel with discrepancies, moving on to the centre section displays. When the display returns to Channel I, the 
auto scan is complete. 

The console must be in Analogue Focus mode (Focus key illuminated) when resetting a TR. 

Not usable with the SEL menu selected. 

Note also that when importing older AWS projectsJR elements which cannot be matched will prevent Auto Scan 
from working properly. 



AWS 924-948 Owner's Manual Page 6-5 



Setup Guide: lO Config 



The Channel Display 

The Chan page presents a graphical display all of the controls within the channel. 



Channel 20 


■ ■ ■ ■ 

■ ■ ■ ■ 

■ ■ ■ ■ 

i ■ 


— r 1 -" 

■ 

— r 1 - 


— i— 

:-h- 


■ 


i 


■ 

■ 
■ 


i 

■ 
i 


■ 


Proj | TR 


| Auto j Lnks | Misc | Chan | DAW | SSL | 


Sel [1 Chan 


CmFb| DynB | StRt | Copy | Scan | All 



Chan selects the 

channel display. 

Pressing the fader 

switch will select a 

channel to be 

displayed. 



The large switch above each fader (bottom right-hand corner) refers to the status of the channel's cut button, and 
the smaller switch refers to the solo-isolate function. 



AWS 948 

The two fader displays refer to the two channel paths. In Mix In-line mode, the primary channel path is on the left and the 
secondary path on the right, regardless of whether or not the fader andV-pot have been swapped. In Track In-line mode, 
the fader displays are always the other way round. 



Setting soft switches 

A double press on the fader switch (beside the channel fader) will reset all the non-latching switches in the channel strip. 
These are: 

Track bus routing switches 

Dynamics assignment and routing switches 

Mic/line selection 

EQ and Insert IN switches 

Aux on/off and EFX reassign switches 

REC and MIX bus assignment 

Cut switches 

Solo Isolate 

Fader position 



AWS 948 












In addition: 












•TheV-pot position (see 


above) 


• Processing 


and Aux 


assignments 


•CUE 


•The Return switch and the Channel Mode (In 


-line Mix 


, In-line Track 


or Stereo) 



If you are confident that all of the soft switches in all of the channels can be reset to theTR position, double-tap on the All 
softkey. 

Copying and Swapping settings between channels 

Stored setups can be copied or swapped between channels by holding down the fader switch on the source channel then 
pressing the fader switch on the destination channel. If the Copy soft key is selected the source channel settings are 
copied to the destination channel: if not, the source and destination channel settings are swapped. 



Page 6-6 



AWS 924-948 Owner's Manual 



Total Recall 



Centre section displays 

Compressor and Foldback 



Compressor & Foldback 


, 1 


1 ■ 

" "■ 

1 ■ 

1 ■ 


i — : 
i — : 

■ 


■ 


^ 


■ 


i i 

H 


1 
1 


Proj | TR | Auto | LpJt€"T Misc | Chan | DAW | SSL | 


Sel Ichan 


CmFb 1 DynB 1 StRt 1 Copy 1 Scan 1 All 



Pressing CmFb or pressing the 

master fader switch will display the 

centre section compressor the master 

fader and foldback sections. 

A double press on the fader switch 

will reset the REC and MIX fader 

positions and the REC and MIX 

processing switches. 



Dynamics and Bus Masters 




DynB displays the 

mono dynamics 

sections and the track 

and bus masters. 



Stereo Returns 




StRt displays 

the four stereo 

returns. 



AWS 924-948 Owner's Manual 



Page 6-7 



Total Recall 



This page is intentionally almost blank 



Page 6-8 AWS 924-948 Owner's Manual 



Total Recall 



Additional TR Functions 

Storing setups 

Setups can be stored at any time using the STORE soft key. This saves the current desk setup to the current title on the 
SD memory card. 

Setups can be renamed from theAWS Remote - see page 6-1 1 

New setups are numbered starting at T. If a setup is deleted (see below) then its number will not be re-used. The only 
exception to this is if all setups are deleted. The numbering will then restart from 'I'. 

Deleting Setups 

Setups can be deleted from memory by highlighting the setup up you wish to delete, holding down the DELETE soft key 
and pressing the CONFIRM soft key. 

Restoring Legacy MIDI Setups from a Mac or PC 

For legacy purposes, it is possible to load setups which have been saved via a MIDI SysEx dump.The AWS uses MIDI port 4, 
or ipMIDI port 8, for loading mixes. 

• Locate the DAW to just before the SysEx data containing the setups you wish to load. 

• Press the Load soft key. 

• Play through the SysEx block of data. As soon as theAWS detects the start of valid data it will delete all the current setups 
and replace them with the stored ones from the MIDI track. 

• The restored Setups can now be saved as part of a console Project using the AWS Remote - see Section 5 for more 
details. 

Because the Load process replaces your current setups with the ones stored on your Mac or PC you should check 
you have saved any setups you wish to keep before loading new ones. 

Note that when importing older AWS projects,TR elements which cannot be matched will prevent Auto Scan from 
working properly. 



AWS 924-948 Owner's Manual Page 6-9 



Total Recall 



This page is intentionally almost blank 



Page 6-/0 AWS 924-948 Owner's Manual 



Total Recall 



Total Recall via Logictivity 




Total Recall Setups 



Mixes Tola! Recai CtHjmefe External* About 



TR 1. RECORDING 
TR2. MKHC 
TR 3" NEW DRUMS 
TR4- OVERDUE 
TR 5: DUB MIX 




| Rename TR Setup | 
| Delete TR Setup 




Refer to Section 5 for further details on the Logictivity browser. 



The Total Recall tab will show you all Total Recall setups for your current project. 

If you would like to rename one of your Total Recall setups, highlight the one which you would wish to change and press the 
Rename Setup button. 

If you would like to delete aTotal Recall set up, highlight the one which you would like to delete and press the Delete Setup 
button. 

Note that ranges of entries can be selected for renaming or deleting together - select the first entry, then hold shift 
and select the last entry. Rename or delete confirmation pop-ups will appear for each entry in turn. 



AWS 924-948 Owner's Manual 



Page 6- 1 1 



Total Recall 



This page is intentionally almost blank 



Page 6- 12 AWS 924-948 Owner's Manual 



Solid State Logic 

SOUND VISION 



AWS 924/948 
Operating Manual 



SECTION 7 

Automation 



Automation 



This page is intentionally almost blank 



Page 7-ii AWS 924-948 Operator's Manual 



Automation 



Section Contents 



Section Contents 

Overview 

Key features 

Quick Guides 
A-FADA Analogue Automation 

Working with Projects and Titles 
Automation Management via the Remote 
Operation 

Activating the Automation System 
List Mix Menu 

Changing the selected Mix Pass 

Deleting Mix Passes 
Creating A New Mix Pass 

Join and Revise 

Discard 

Updating a Mix Pass 

Cut Automation 

Selecting Protection 

Summary of fader status and FSM functions: 

Automation Options 

Trim 

TLock 

Motors Off 

Snap Mode 

AutoTakeover 

Copy and Swap 

Deleting Mix Passes from the Console 

Automation Setup Options 
Fader Links 

Viewing Links 
Suspending Links 
Deleting Links 

Pro Tools Setup Notes 
MIDI SysEx Save and Load 

Saving Automation Mix Passes: 
Loading Legacy Mix Passes: 



7-m 

7-1 
7-1 
7-1 
7-1 

7-2 
7-3 
7-4 

7-4 
7-4 

7-4 
7-4 
7-5 

7-8 

7-8 
7-8 
7-9 

7-10 

7-11 

7-12 

7-12 
7-13 
7-13 
7-14 
7-14 
7-14 
7-14 

7-15 
7-16 

7-16 
7-16 
7-16 

7-17 
7-20 

7-20 
7-20 



AWS 924-948 Operator's Manual 



Page 7 -Hi 



Automation 



This page is intentionally almost blank 



Page 7-iv AWS 924-948 Operator's Manual 



Automation 



AUTOMATION 



Overview 

AWS consoles include a fully featured automation package, developed from SSL's renowned G and K Series Ultimation 
systems, but with a feature set designed specifically for the AWS. SSL automation utilises the classic SSL look and feel, 
familiar to thousands of engineers worldwide, to add dynamic fader and cut automation to the console. MTC (MIDI Time 
Code) serves as the mix timeline reference together with support for MMC (MIDI Machine Control) locate commands to 
follow non-play speed positional changes from the DAW. Automation Mix data is normally stored via Logictivity using the 
AWS remote. Legacy systems make use of System Exclusive MIDI data transfer allows mixes to be saved to a DAW 
workstation or SysEx librarian. 



Key features 

Frame accurate fader and cut automation data 

Moving and non moving fader modes 

Trim updates 

Fader links 

Mix Pass history 

AutoTakeover 

Variable glide times 

Fader safe mode 

Match and Play Cut automation updates 

Mixes and Fader Links are saved together with Total Recall data (if applicable) 



Quick Guides 



Project 1 :: Title 1 



Mix Enabled 



New Mix 
Mix Pass 1 
Mix Pass 2 » 1 
Mix Pass 3 » 2 




Moff (motors 
off) p7- 1 3 



TLock (trim 
lock) p7- 1 3 



Snap 

p7-l4 



AT (auto 
takeover) 7- 1 4 



Match+ Play 

p7-8 



CS (Copy/Swap) 
p7-l4 



For quick, simple guides of how to use your SSL automation, please visit the SSL website for AWS tutorials: 
http://www.solidstatelogic.com/ 

A-FADA Analogue Automation 

A-FADA (Analogue Fader Accesses DAW Automation) is an innovative new way of combining the ease of DAW automation 
with the audio qualities of analogue mixing by using DAW track automation to move the analogue faders, opening up a wide 
range of possibilities for creativity and convenience in mix automation. More details can be found on page 4-6. 



AWS 924-948 Operator's Manual 



Page 7- / 



Setup Guide: Console Config 



Working with Projects and Titles 

At least one Project and Title must be present before you can store an automated Mix. Select SSL followed by Proj. Now 
select New Proj and the system will create a new Project and Title; logically these will be named Project I and Title I (if 
no previous projects exist). 




Proj 


TR 


Auto 


Lnks 


Misc 




Daw 


SSL 














Del 


Con 



If Projects have been previously created, when you press the Proj key, the screen will display a list of existing Projects. Use 
the left-hand encoder to scroll through the list and when you find the Project you require, press the encoder switch (or 
soft key below the encoder) that represents the Select function. This makes that Project current (as indicated by the entry 
being highlighted in yellow, with the word selected after its name) and reveals the Titles in that Project. To create a new 
Title in a Project, select New Title. Titles and Projects are automatically numbered in sequence of creation. Select Copy 
Title to copy the selected Title. 

Note that the top line of the display always indicates the current Project and current Title. Use the Select rotary control 
to scroll through lists of Projects, Titles, etc., and the encoder switch to select them. To return at any time to the Project 
list, press the Back softkey. 



AWS 948 TRANSFER COMPATABILITY 

Note that when loading Titles created on a 900 or 924 onto a 948, the automation is applied to both sides of a stereo 
channel. In In-Line modes, automation is applied to the primary channel path, and the secondary channel path drops into 
Manual. 



Page 7-2 



AWS 924-948 Operator's Manual 



Automation 



Automation Management via the Remote 

The Mixes tab in the AWS Remote Browser will show you a list of all current mix passes associated with your current 
project. 



P hm TTIIIiYi fT»i ■ i-l i"T71-?lV 5ai 























^E^L 


mCWJ 


J? w 


ttBmk 


Kj, ;...;!■... . 




£KK 


■'■'. 
















i j / J j f t r r r 


? t t r i 


u\\\\ 


lii^.^ '\ 



Projects Mixes Total Recall Channels Externals Aboul 



Mix Passes 



MIX l: RADIO EDrT 

Mix 2: vocal up -> Based on Mix 1 

Mix 3: VOCAL DOWN -> Eased on Mix 2 

Mix 4: INSTRUMENTAL -> Based on Mix 3 

Mix 5. vocal only -> Based on Mix < 



I. 




To rename one of your Mix passes, highlight the one which you would wish to change and press the Rename Mix button. 
To delete a Mix Pass, highlight the one which you would like to delete and press the Delete Mix button. 

Please see Section 5 for further details on the browser. 



AWS 924-948 Operator's Manual 



Page 7-3 



Automation 



Operation 

Activating the Automation System 

Use the softkeys below the centre section TFT to select SSL then Auto. This calls up the main automation display with 
its associated soft key menu (see next page). 

List Mix Menu 

The List Mix menu is the main file menu for the automation system, and shows a list of stored Mix Passes. 



Project 1 :: Title 1 



Mix Enabled 



New Mix 
Mix Pass 1 
Mix Pass 2 » 1 
Mix Pass3»2 



Select 



Confirm 



Proj 


TR 


Auto 


Lnks 


Misc 


| Chan | 


Daw 


SSL 


Trim 


Moff 


TLock 


Snap 


* T 


| Match | 


Play 


cs 



New Mix Passes are auto-numbered starting at T. If a Mix Pass is deleted (see below) then its number will not be re-used. 
The only exception to this is if all Mix Passes are deleted. The numbering will then restart from T. Mix Passes can be 
renamed from the AWS Remote — see Renaming Mix Passes. 

Changing the selected Mix Pass 

The left-hand encoder can be used to scroll through the list of Mix Passes. A yellow cursor band indicates which Mix Pass 
is currently selected for modification. The encoder's push-push switch can be used to either start a New Mix, or select a 
previous Mix Pass. Note that once a Mix is selected, the Mix may take a moment to load. 

Deleting Mix Passes 

Mix Passes can be deleted by selecting the Mix Pass you wish to delete, holding down the Delete soft key and pressing 
the Confirm soft key. 



Page 7-4 



AWS 924-948 Operator's Manual 



Automation 



Creating A New Mix Pass 

To create a new automated Mix Pass, enter the List Mix menu (shown below) and use the left-hand encoder to highlight 
the New Mix entry. 



Project 1 :: Title 1 



Mix Enabled 



New Mix 
Mix Pass 1 
Mix Pass2»1 
Mix Pass 3 » 2 



Sol set 



Save/Load 



Confirm 



| Proj | TR 


Auto 


Lnks 


Misc 


Chan 


Daw 


SSL 


| Trim | Moff 


TLock 


Snap 


AT 


Match 


Play 


CS 



Now press the encoder switch or the Select soft key to select the New Mix Setup page. 



Project 1 :: Title 1 



Mix Enabled 



Press Protect to access 
the protection options 



New Mix 

Select Protect to change protection modes 

Press Execute to continue 



Press Execute to continue 



Execute 






Protect 


Cancel 










Proj | TR 


Auto 


Lnks 


Misc 1 Char 


1 1 Daw 


SSL 1 


Trim | ivioff 


TLock 


Snap 


AT | Mate 


h| Play 


CS 



All the channel faders will enter Absolute mode, as indicated by a red LED next to each fader. Depending on the Show 
channel names option selected in the SSL / Misc / Setup menu (see Automation Setup Options), the current 
automation status for each fader may be displayed in the scribble strip above the fader, replacing the standard scribble label. 

Pressing the CANCEL button twice quickly will return you to the List Mix page. 

Select Protect to disconnect controls from the automation system - see Page 7-10 for more details. 



AWS 924-948 Operator's Manual 



Page 7-5 



Automation 



To start a mix, press Execute. The screen switches to show level bargraphs for the 24 channel faders and the two main 
faders, (for the MIX and REC busses). 



Project 1 :: Title 



MIX RUNNING 



00:05:43:21 



Channel Faders 



Press End to save 
the current Mix 
Pass and return to 
the List Mix menu. 



;■!■ 



Stereo Bus 
Master Faders 



Proj 



Trim 



TO 



Auto I Lnks I Misc I Chan I Daw 



Moff TLock I Snap I AT I Match I Play CS 



Press Discard 
to abort the 
current Mix Pass 



SSL 



The system saves a Global Static reference mix of the fader levels and cut status at their positions when the Execute key 
is pressed. This is useful because it allows you to locate before the start of the mix and recover your original levels 
(i.e.reference mix). Also, if you are writing automation in a section that had no previous mix data, when you drop out of 
write the faders go back to their original levels. 



Mix Running 



Press Play on the DAW to move forward and as soon as the Mix system has locked to the MIDI timecode (MTC), the Mix 
Status display will indicate 'Mix Running'. Simply move the faders and press the cut switches to write your mix automation, 
and the fader moves and cut data will be recorded. The DAW may be toggled freely between Stop and Play and if Fast 
Forward is used or the DAW is located forward, the automation data will be extended to the new position and returned 
to play. 



AWS 948 

You can write automation to the fader for either channel path by pressing the V-pot and switching the main fader's path 
assignment. Automation can not be written on the V-pot - the path must be flipped to the fader. The bargraph colour 
will change from light grey to green when the secondary path is flipped to the fader, as shown for faders 1 8 and 1 9 above: 

Automation can be written on both cut switches. 



Page 7-6 



AWS 924-948 Operator's Manual 



Automation 



Mix Review 

At any time you can rewind the system, and as soon as the DAW is located to an earlier time and valid MTC or a MMC 
locate position command is received, the mix system enters 'Mix Review'. All faders will switch to Replay status (all LEDs 
are off). This operation is known as a rollback. 




Indicates how many times 
you have rolled back. Every 
time the Mix Review 
number will increase by I. 



Mix Running Status 

Displayed while writing 
new automation data; 

Mix Review Status 

Displayed when rolled back 
and playing previous 
automation data. 



When the DAW returns to Play, previously written automation data is replayed. If no faders are returned to write, all 
faders in write at the start of the mix will drop back into write at the point where the DAW was rewound (the 'rollback 
point', and the Mix status will return to Mix Running. Whilst in Mix Review you may rollback as many times as required to 
allow the mix to be built up fader by fader. Each time a rollback takes place, the rollback counter in the mix status display 
increments. Faders in write at a rollback point will automatically switch to write when the system plays through the rollback 
point. 



AWS 924-948 Operator's Manual 



Page 7-7 



Automation 



Join and Revise 



At any time during Mix Review, the Join key can be used to switch all channels originally in write at the last rollback point 
back to write at the levels or state they were at the rollback point. This is useful, for example, when balancing a chorus level. 
When you have achieved this balance, you can rollback, hit Join and the levels will punch in at the balance set before rollback, 
and all channels immediately return to write.The Revise key has a similar action except that all channels in write at the 
Rollback point are returned to write at their current mix position. This is useful if you have been automating a section, but 
made a small mistake. Just rollback prior to the mistake, hit Revise and the channels will immediately go into write at the 
current fader level, allowing you to overwrite the mistake. 



JOIN FUNCTION 



Will jump to rollback level when 
Join is pressed and write new 
data 



REVISE FUNCTION 




Will stay al current mix level when 
Revise is pressed and write new 
data 




Start 



Press the Join Key 



Rollback Point Start 

^^ Original Automation 



Press the Revise Key 



Rollback Point 



Multiple Rollback memories are supported so that successive operations of Join or Revise return different sets of faders back 
to the write state, if multiple Rollback operations have taken place. 



To 
press 



return 


all faders 




Mix Review 


Mix Runn 


i JOIN 


i ROLLBACK i ROLLBACK 

1 Point 2 ' Point 1 


Global 

Rollback 

Point 




Pass 1 (All Chann 




Absolute) 


1 Absolute) 




1 Absolute) 


► Pa— 4 







to Absolute, 

Mix Running the Join or Revise keys until 
the Global Rollback memory is 
reached, at which point all 
faders return to write either at 

Time the current position, via the 
Revise function, or at the 

elsin balance at the Global Rollback 
point, via the Join function. 



Discard 

If the system is in play or stopped following a Rollback operation with any faders or cuts in Absolute mode, Discard clears 
any data made since the start of the Rollback pass and forces all channels in Absolute back to Replay. The Discard label 
is only shown when there is Mix data to discard. 

Updating a Mix Pass 

To update a Mix Pass, select the desired Mix Pass from the list on the List Mix menu by turning the left V-pot and press 
the V-pot switch. 'Updating Mix Pass' will be displayed and the selected mix will now be the reference mix. 



Page 7-8 



AWS 924-948 Operator's Manual 



Automation 



Cut Automation 

Pressing a Cut switch will toggle its state and automatically start writing data. It can be returned to replay either by rolling 
back or by selecting the soft Play key, then pressing the cut switch. 

The state of the channel Cut switch is stored separately from the fader data. Cut data is stored regardless of the current 
fader status unless channel Safe mode is selected. Whenever the Cut switch is in write, a '*' symbol is displayed in the 
scribble strip above the fader. 

Match followed by the Cut switch drops the channel into Write without changing the current state of the Channel Cut. 
Match and Play are mutually exclusive. If one is active, selecting the alternate function cancels the first one. 

Match and Play are automatically deselected after each operation unless the Latching option is enabled in the Setup Menu. 



CUT UNCUT 



CUT UNCUT 



If you have made a cut error, position 
the DAW before the error, resume 
play, select Match and then press Cut 
to automatically drop into write 
without changing its current state. 




When the cut has been overwritten, 
select Play and then press Cut to 
resume playing original automation. 



MATCH & CUT 



PLAY & CUT 



X 




-X- 



AWS 924-948 Operator's Manual 



Page 7-9 



Automation 



Selecting Protection 

Each component which is included in the automation can be protected globally, on a per-channel basis, or individually. This 
is done in the Protection Mode page, accessed by pressing the Protect softkey. 



Project 16 :: Title 1 



Mx EraHedi 



Protection Mode 

Set protection mode using switches and FSM key 

Select Display to show mode of individual controls 

Turn off Protect to continue 



Wlisc 1 


TR 


Auto 


Lnks 


Misc 


Chan 


Daw 


SSL 1 


Cut 









When you update a previously stored Mix, three different data protection modes become available: Auto, Safe and 
Manual. 

Auto (Red fader status LED) Automation data is replayed and can be over-written, either using the fader touch 
sensor (motor faders on), or by pressing the fader status button. 

Safe (Green fader status LED) Existing fader and switch automation data can be protected with the Safe option. 
When channels are in Safe, automation data is replayed but no data can be written to these channels. 

Manual (No fader status LED) Existing automation data is protected but not played back. The fader and switches 
affect the audio in the normal way but movements will not be written to the automation. 

Safe mode is not available in a new mix. 

When the Protect screen is active, the lower row of softkeys become selection softkeys for the automated CUT switches 
and the top left softkey now displays SetFader (as shown above). These two softkeys select which controls will be affected 
by the FSM softkey and the fader status buttons which are used to cycle through the available Protection Modes, on a 
global basis (FSM softkey) or on a per-channel basis (the fader status buttons). In either case all the selected controls in 
the channel will be set to the displayed mode. The protection mode is applied to the channel path which is currently 
assigned to the channel fader. 

For example, to set all of the main channel faders to Safe mode, activate only the SetFader softkey and use the FSM 
softkey to cycle the Scribble Strip to Safe. Alternatively, to set the CUT switch on channel I to Auto mode, activate only 
the CUT softkey and press Channel I's fader status button to cycle the Scribble Strip to Auto. 

When the Protect screen is active, all automated controls can be reset to the same mode by pressing and holding the FSM 
softkey. 



Page 7-/0 



AWS 924-948 Operator's Manual 



Automation 



To display which controls are in each mode, press the Display softkey - the three Protection Modes will be shown in the 
lower left-hand softkeys. Pressing one of these mode softkeys will cause the LEDs for all controls which are in that mode 
become lit. (The fader status LED now lights to indicate when the fader's current mode is selected, regardless of whether 
or not that mode is Auto.) Pressing any individual controls (or in the case of the fader, the fader status button) will cause 
them to be assigned to that mode, and the new mode will be shown on the Scribble Strip display. 

For example,if the Manual mode softkey is pressed, pressing a channel CUT switch will cause that switch to be put into 
Manual mode, and the Scribble Strip for that channel will display CutC M. Note that channel faders are shown as FdrC, 
monitor faders as FdrM, channel cut switches as CutC, monitor cuts switches as CutM. 

Summary of fader status and FSM functions: 

Note that the fader status buttons and LEDs and the FSM softkey fill a variety of functions: 

- When in Mix Enabled, a red LED indicates Write, a green LED indicates Trim (see below) and no LEDs indicates 
Replay. The FSM softkey and fader status buttons switch any faders and switches in Auto-mode between Write and 
Replay (or, if Trim is active, between Trim and Replay). 

- When the Protect screen is active, a red LED indicates Auto, a green LED indicates Safe and no LED indicates 
Manual Protection mode. The FSM softkey and fader status buttons switch any faders and switches which have 
been selected in the screen between Protection modes. 

- When in Protect / Display, a lit LED (red for Auto or Manual, green for Safe) indicates that the channel fader 
is in the Protection mode which is currently displayed. The fader status buttons can be used to add faders to the 
currently displayed mode. 



A WS 924-948 Operator's Manual Page 7- / / 



Automation 



Automation Options 

Trim 

A method of updating fader data is to Trim the previous Mix Pass data. Trim mode originates from VCA (non-moving fader) 
automation systems and uses the fader to add or subtract level from the existing moves. It achieved this by setting up a 'null' 
fader position and then any subsequent moves trim the existing data by the amount of positive or negative change from the 
null point. Trim is useful, for example, when you have a complex automated vocal line which needs raising by 2dB. Rather 
than trying to re-write the complex moves, simply rollback, hit Trim and move the fader by +2dB. Locate to the end of 
the vocal line that needs this level increase, and press the End soft key to commit the trim to a Mix Pass. 

The Trim mode is enabled by pressing the Trim key. Once active, faders can write in Trim, at anytime except during the 
first pass of a new mix, during Mix Running or in Mix Review. Trim is indicated by the green status LED next to the fader. 
When Trim is available at the start of the Mix, the FSM key will toggle all faders between Replay and Trim. 

Trim can be used with the fader motors On or Off. If the motors are On, the null point will be the fader position prior to 
selecting the trim auto switch or touching the fader. If the motors are Off, the fader can be positioned at a suitable reference 
point on the scale before entering the Trim update status by pressing the fader switch. SSL's automation features an 'auto- 
nulling' feature so that each time Trim is re-enabled a new null point is set. When writing a Trim move, the dB trim value 
is displayed in the scribble strip above the fader. 



New Automation 




Move the fader up or down to the new value and all the 
existing moves will be copied exactly at the new level. 



Original 
Automation 



Both Autotakeover and Snap functions (see below) used in conjunction with a Trim update allows a seamless or smooth 
return to the stored mix data. 

When Join is used with faders in Trim at the Rollback point, any Trim offset will be retained and written from the point 
that the Join key is operated. Revise returns any fader in Trim at the Rollback point back to write but with a new null 
point to avoid a level jump. 



Page 7-/2 



AWS 924-948 Operator's Manual 



Automation 



TLock 

TLock (Trim Lock) defeats the auto nulling feature of the standard Trim function and 'locks' the null point to the position 
that the fader was in when Trim was first enabled in the current Mix Pass. This enables a defined trim offset to be repeatedly 
punched in and out throughout the subsequent Mix Pass. Deselecting TLock clears any stored nulled points. AutoTakeover 
can be used when TLock is active, however Snap and TLock are mutually exclusive; selecting one deselects the other and 
vice versa. 



An example of TLock would be bringing up 
the levels of guitar licks in a track. 

If Trim is used in Snap mode, the fader can 
be raised and let go repeatedly, returning to 
the previous level. However it is difficult to 
have an identical increase in level each time 
when using manually. If we use TLock, the 
reference value will be set, and the fader will 
be moved to the correct raised level. Every 
time you press the fader status key it will 
jump to that level, and when pressed again, it 
will return to the reference value. There will 
be no glide times and the value will be 
identical. 

Note: This feature is only available 
with Motors OFF 



TRIM IN SNAP MODE 



Fader released 



&- 



'XDCDl 



.Level not 
exact 



Fader moved 



TRIM WITH TLOCK 



Stat js key pressed again 



JL 



- Level Is exact 



Statue key pressed 



Motors Off 

Moff (Motors Off ) this mode suspends the motorised playback of Mix data via the moving faders. In this mode it will 
emulate a VCA automation system. Moff automatically activates the fader SuspdAII Links function (see Page 7-19). 



AWS 924-948 Operator's Manual 



Page 7-/3 



Automation 



Snap Mode 

Snap mode uses the fader touch sensor to control both the start and end of a fader update for fast hands on changes to 
mix levels. When the fader is released it ramps back to the previous mix level at a user determined rate, then returns to 
replay. 



Start position 
when fader is 
first touched 



New Automation 



End Point 




Original 
Automation 



When fader is 
released it ramps back 
to previous mix level 



Glide time can be set 
in the Setup menu if 
desired 



This feature is only available with Motors ON 



AutoTakeover 

To avoid a level jump when dropping out of write, AutoTakeover introduces nulling indicators in the scribble strip to display 
the direction to move the fader to match the underlying mix level. When the fader crosses the current mix level, it is 
automatically returned to replay and disconnected from the audio gain element. The fader returns to following the mix data 
as soon as it is physically released. 



New Automation 



Start position 
when fader is 
first touched 




Original 
Automation 



End position when 
fader is released 



Manual glide will 
switch off automation 
once past original 
automation level 



Scribble strip indicates 
direction to move the 
fader back to its 
original position 



Copy and Swap 

CS (Copy and Swap) are used to interchange or transfer mix data between channels. The required function is selected by 
pressing the CS key to toggle through modes. Copy is displayed as a highlighted Cpy, Swap as an Swp. Select the function 
required then hold down the source channel auto switch then press the destination channel using its auto switch. Whilst 
the auto switches are active, 'src' and 'dest' will be displayed in the scribble strips above the fader. To Copy or Swap 
automation data the system must be in Mix Running or Mix Review. 

Copy is to a single channel only. To copy to multiple channels, repeat the Copy operation as many times as required. 

The new Mix data is not saved until the subsequent Mix Pass is Ended. 

Deleting Mix Passes from the Console 

Mix Passes can be deleted from memory by highlighting the Mix Pass you wish to delete in the TFT screen, holding down 
the Delete soft key and pressing the Confirm soft key. Mixes can also be deleted from the AWS Remote. 



Page 7-/4 



AWS 924-948 Operator's Manual 



Automation 



Automation Setup Options 

The SSL>MISC>SETUP contains various options for the mix system. Scroll to the option to be edited and select using 
the Left V-pot push switch. Once the option is active, the left V-pot will increment/decrement a numerical value as it is turned 
or page through the various option states. Press the V-pot push switch a second time to complete the setup operation. 



Projecll :: Title 1 



Glide Frames : 

Rollback threshold frames : 2 

In Mix Show : Automation mode 

Latched switches are : Momentary 

Listen switch is : Latching 

Red light switch is : Manual 

TB switches disable Listen : No 

Talk to FB : Sums 

Monitor Gain Display : Music (Off to 11) 











Restart 


















Proj 


TR 


Auto 


Lnks 


Misc 1 Chan 1 


Daw 


SSL 1 


Trim 


Moff 


TLock 


Snap 


AT | Match | 


Play 


cs 



Glide Frames 



Rollback Threshold frames 



Latched Match & Play 



In Mix Show 



Sets the ramp time in frames for Snap mode. The range is from (no glide) to 255 
(10 second glide). 

Sets the number of consecutive descending frames that the system needs to see to 
determine if a rollback has taken place. The range is 2- 1 and the default is 2 frames. 
Increase as required if a rollback occurs on stopping the timecode master. 

Normally Match and Play are automatically deselected after a Cut switch is 
operated. This option latches the Match or Play function until deselected manually. 

This determines what is displayed on the channels scribble strips when using 
automation. Choices are: 

• Automation Mode - shows Manual, Safe or Auto 

• Channel names in mix running - After pressing Execute will 
display channel names 

• Channel names - will always display channel names 



AWS 924-948 Operator's Manual 



Page 7-/5 



Automation 



Fader Links 

Fader Links are a useful method of ganging channels without the complexity of a Master/Slave style grouping system. In a 
Fader Link, operating any Fader, Cut, Solo or Status switch will apply the same action to all the channels in the Link. Fader 
retain any level offsets provided no fader in the Link reaches the upper or lower extremes of the fader scale. If any member 
of a link reaches the end of its physical travel all members of the link will not move beyond this point. To access Fader Links, 
press the Lnks soft key next to the Auto key. 

Note: Links are not available in 'MOTORS OFF' mode. 




To set up a new Link, scroll to New Link and press the V-pot push switch. This will create a new entry in the list suffixed 
with a number. This entry will be automatically highlighted and faders can be added (or removed from the Link) by pressing 
the fader auto switch. Link numbers are shown in the scribble strip above the fader and the read fader status LEDS will 
indicate the faders in the currently selected Link. 

To adjust the Link balance, hold one fader whilst moving another. This automatically isolates the second fader from the Link 
whilst the remaining faders continue to track the first fader touched or used. 

As far as the SSL automation system is concerned, operating one fader places all the faders in the Link in write. Links can 
be dissolved at any time and all the automation data will still play out correctly. 

To edit existing Links, scroll to the Link using the pot. Channels can be added or removed by pressing their auto switches. 

Viewing Links 

To view links without entering the Links page, press the MISC Function key followed by the SLNK key which appears 
beneath it. 

Suspending Links 

Links can be globally or individually suspended at anytime. A link which is suspended will allow the user to move all faders 
independently. 

If a Link is highlighted, then the SuspdSel key will deactivate the selected Link and 'suspended' will be shown next to the 
link number. 

SuspdAII will suspend all links in the list. Moff automatically activates the SuspdAII function. Touching two faders in the 
same link group will suspend all faders within that group. 

Deleting Links 

To delete a Link highlight the Link, then use the Delete and Confirm keys. 



Page 7-/6 



AWS 924-948 Operator's Manual 



Automation 



Pro Tools Setup Notes 

To enable timecode generation, click on the GEN MTC button in the transport window: 



GOO 

L*>J L^JL^JL^L^Lj LEJ 


>}l±Ja L*L 


GEN 
IfTC 






© 


3| 1 1 000 - 


I 


fc — 




345130 - 


n^iiwiB[»i 


- 



Now open the Synchronisation tab in the Setup/Peripherals window and select the port on the MIDI interface that is 
connected to AWS Port 4 MIDI IN or IP MIDI Port 7. Also select the timecode rate for the session and the session start 
time. It is expedient to make a note of the timecode standard that was used for a particular AWS mixing project. Automation 
automatically detects the timecode standard from the incoming MTC messages. It will quite happily attempt to play out 
stored mix data to incoming timecode with a different frame rate, but this will result in small but potentially annoying timing 
errors in automation playback. 



Peripherals 




C~ 


Synch ronizat ion Machine Control MIDI Controllers Ethernet Controllers Mic Preamps 


Satellites 1 




MTC Reader And Generator 








MTC Reader Port: [ SYNC 


MTC Generator Port: ' ipMIDI, Port 7 $ } 

Digidesign Synchronization Device 

@J Enable SYNC Peripheral Current Firmware Version: L.L.4 


VITC Insertion Enabled LTC Output Level:[ -3 dBu $ ] 


Q Pitch Memory Enabled VITC Read Lines:' Automatic $\ 


Idle MTC Enabled VITC Generate Lines.:'" 14, 16 £ ] 


Bi-Phase/Tach Wiring:' Bi-phas:FWD=AidsB ~Tl 


Bi-Phase/Tach Pulses/Frame LOO ( Reset Bi- Phase ) 

Enable Dub Window 


Vertical Position:! 20%FrmBtm $ } 5ize:f Large £ ] 


Horizontal Position:! Center * ] Color:' WhtnBlckBk tl 










f r i "\ £ 




^ Cancel J ^ 


OK J 



AWS 924-948 Operator's Manual 



Page 7-/7 



Automation 



To set up MMC locates, open the Machine Control tab in the Setup/Peripherals window and follow the configuration shown 
below: 



Peripherals 



Synch ronizati on Machine Control MIDI Controllers Ethernet Controllers Mic Preamps Satellites * 



MIDI Machine Control (Master} 
















ID 

127 


Prerolk 


90 


frames 


gT Enable ' ipMIDI, Port 7 


*i 




T 1 



MIDI Machine Control Remote (Slave) 

ID 
D Enable 127 

9-Pin Machine Control (Deck Control) 



Port 



Machine Type 



'__' Enable None 



Preroll: 150 frames 



'__' Use Serial Time Code For Positional Reference 

(Serial Time Code Requires 5YNC With Video Clock Reference) 



9-Pin Remote (Deck Emulation) 


Po" 


Machine Type 




•Z 1 Enable ' None £ ] 


BVW-75 


D Chase LTC 



( Cancel A ( _ 



OK 



Enable MIDI Machine Control and select the Port on the MIDI Interface that is connected to AWS Port 4 MIDI IN or IP 
MIDI Port 7. Leave the ID as 127 (this sends to all connected devices). Open the Operation tab in Setup/Preferences: 



Pro Tools Preferences 



Enable 

these 

options 



Display Opt rat ion Editing Mixing Processing MIDI Synchronization ' 



Transport 



-P 



Wf Timeline fcisertion/Play Start Marker Follows Play hack 
jgf Edit Insertion To Mows Scrub /Shuttle 



!7 J Audio During EasL Forward /Rewind 

17 J 1 Plaf Start Marker Tallows Timeline Selection 

fj 1 Reserve Voices Tor Preview In Context 

Custom Shuttle Lock Speed: 800 M 

Bat k/ Fo rwa rd Anno u nt: 

00 00:05:00.00 ' Time Code t\ 
Numeric Keypad: 

& Classic 

O Trans pen Lse Separate Play and 5top Keys 

O srruiile 

Video 



QuickTime Playback Priority: 

□ High Quality QuickTime Image 






f-'edium 


m 







Auto rsackup 



Q Enable Session File Auto Backup 

Keep: LO most recent backups 
Backup every: 5 minutes 



Record 

Latch Record Enable ttuLLons 

Link Record and Play Faders 

Audio Track RecordLock 

Q Transport RecordLock 

Disable "Input 1 when Disarming Track (In 'Stap'^l 

Q Mute Re cord -Armed Tracki while Stopped 

Q PEC /Direct 5tyle Input Monitoring 

Online Options: 

S Record Online at Time Code for ADAT> Lock 

O Record Online at I rsertion./ 5 election 
Open-Ended Record Allocaclon: 

@ Use All Aval lable Space 

O Limit to: 50 minutes 

Destructive Punch File Length: 2S minul 



Misc 

Auto Region Fade In/Out LEngih: 
Calibration Reference Level: 
Delay Compensation Time Mode: 



10 msec 
"Ti" dB 



5amples 



( Cancel ) £~ 



Enable the two options circled above. This ensures that the MMC locate messages are transmitted correctly from Pro 
Tools. 



Page 7-/8 



AWS 924-948 Operator's Manual 



Automation 



Finally, open the Synchronisation tab in Setup/Preferences: 



Enable 

these 

options 



Pro Tools Preferences 



1 Display Operation Editing Mining frocessing 



Synch ron cation 



Machine Control 



'3 Machine Chases Memory Location 
@J Machine Follows Edit Insertion^ Scrub 



'._ Machine Cues- Intelligently 
|_! Stop at Shu tile Speed Zero 
_ No ti-Line ar Transport Error Su ppres s i a n 

Synchronization 



Minim j m Sync Delay: 60 frames 

Delay before Locking to Longitudinal Time Code: LG frames 

Delay before Locking to Serial Time Cade: ] frames 



Remote Mode 



, . Ignore Track Arming 
1—1 Set Servo Lock Bit at Play (Tain ura. Support] 
Allow Track Arm Commands in Local Made 
Punch In Frame Offset: 
Punch Out Frame Offset: 
Delay *fcw Play Command: 

Satellites 



frames 

frames, 
frames 



H Transmit 5olos 

Receive Solos 

D Solo Independent Of Lin ted State 

□ DAE. Errors Stop All Linked 5ys terns 

Transmit Play Selections 

Receive Play Selections 



( Cancel ) (^ 



When mixing with the AWS 948 it is advisable to enable the two options circled above. This ensures that a Rollback 
operation will occur following a locate or rewind operation in Pro Tools. If the first options are not enabled, then Pro 
Tools does not send a locate command following a Stop command even though the desk counter will show the position 
that Play last occurred from and where Play will resume from. The automation Rollback will then occur when the system 
is returned to play which can be disconcerting. Enabling the option ensures that Rollbacks occur prior to entering play but 
at the expense of defeating the Pro Tools feature of automatically returning to the last Play position following the Stop 
command. 

Please note: 

• When 'MIDI connects via network' option is used all mix passes can be saved via Logictivity. 

• If you are not connecting via Ethernet the standard MIDI ports will be used. 

• The AWS 948 uses the same MIDI port for saving and loading mixes and receiving MTC. 

• Ensure that any MIDI tracks containing SysEx data are muted while mixing, as SysEx data will interfere with MTC 
transmission. 



AWS 924-948 Operator's Manual 



Page 7-/9 



Automation 



MIDI SysEx Load 



For legacy purposes, it is possible to load Automation setups which have been saved via a MIDI SysEx dump. The AWS uses 
MIDI port 4 for loading mixes. 

Note that MIDI port 4 is also used for MTC. SysEx data will interfere with MTC transmission, so ensure these tracks are 
muted while mixing. 

• Locate the DAW to just before 
the SysEx data containing the 
Mix Passes you wish to load. 

Press the MIDI Load soft key. 

• Press the Load soft key. 

• Play through the SysEx block of 
data. As soon as the AWS 
detects the start of valid data it 
will delete all the current Mix 
Passes and replace them with 
the stored ones from the MIDI 
track. 

Because the Load process replaces 
your current Mix Passes with the 
ones stored on your Mac or PC you 
should check you have saved any 
Mix Passes you wish to keep before 
loading new ones. 




Proj 


TR 


| Auto | 


Lnks 


Misc 


Chan 


Daw 


SSL 1 


Trim 


| MofF 


| Tl_ock| 


Snap 


AT 


Match 


Play 


cs 



Page 7-20 



AWS 924-948 Operator's Manual 



Solid State Logic 

SOUND VISION 



AWS 924-948 
Owner's Manual 



TECHNICAL 
APPENDICES 



Appendices 



This page is intentionally almost blank 



Appendices Page AH AWS 924-948 Owner's Manual 



Appendices 



Section Contents 

Section Contents Aiii 

A: Specifications A- 1 

l/4"TRSJack A-3 

DIN 5-Pin 180° A-3 

XLR 3-Pin A-3 

B: Connector Details A-3 

C: Connector Pinouts A-5 

Connector Pinouts . . . continued A-6 

D: Environmental Specification A-7 

E: MIDI Implementation Chart A-9 

F: Service & Warranty Information A- 1 1 

Introduction A- 1 I 

Warranty A- 1 1 

Out of Warranty Repairs A- 1 1 

Website Support A- 1 1 

Out-of-hours Support A- 1 1 

G: Troubleshooting A- 1 3 

Introduction A- 1 3 

Locating Problems A- 1 3 

Audio Faults A- 1 3 

Control Faults A- 1 4 

Replacing Modules A- 1 5 

The Channel Strip (62992 1X1/ 629994X I ) A- 1 6 

The Channel Fader (629924X I ) A- 1 7 

The Channel Meter Panel (629923X I / X2) A- 1 8 

Centre Section Cards A- 1 9 

Troubleshooting Chart - Channel bays A-20 

Troubleshooting Chart - Centre section A-20 

H: Glossary Of Terms A-23 

I: Link Options A-25 

J: Block Diagrams A-26 



AWS 924-948 Owner's Manual Appendices Page Aiii 



Appendices 



This page is intentionally almost blank 



Appendices Page Aiv AWS 924-948 Owner's Manual 



A: Specifications 



APPENDICES 



A: Specifications 



AWS Performance Specifications 


Parameter 


Path 


Value 


Notes 


Headroom 




<+27dBu 


IkHz (<l% THD) 


Frequency Response 


Microphone input - Insert Send 


±0dB at 20 Hz 








-0.08dB at 20kHz 


-4dB at 200kHz 




Line input - Direct out 


±0dB at 20 Hz 








-0.08dB at 20kHz 


-3dB ot 1 35kHz, -6dB ot 1 95kHz 




Line input - Track / Aux Bus out 


±0dB at 20 Hz 








-0.08dB at 20kHz 


-3dB ot 1 35kHz, -6dB at 1 85kHz 




Line input - Mix / Rec out 


±0dB at 20 Hz 








-0.08dB at 20kHz 


-3dB ot 1 35kHz, -6dB ot 1 85kHz 


Noise 


Microphone input - Insert Send 


<-l26dBu EIN 


20Hz - 20kHz 




Line input - Direct out 


<-89dBu 


20Hz - 20kHz 




Line input - Track / Aux Bus out 


<-89dBu 


No chonnels routed 






<-80dBu 


All chonnels routed 




Line input - Mix / Rec out 


<-89dBu 


No chonnels routed 






<-84.5dBu 


All chonnels routed 


THD 


Line input - Direct out 


0.005% at IkHz 


+24dBu, 80kHz Filter 




Line input - Track / Aux Bus out 


0.005% at 1 kHz 


+24dBu, 80kHz Filter 




Line input - Mix / Rec out 


0.005% at 1 kHz 


+24dBu, 80kHz Filter 



AWS Physical Specifications 


Parameter 


Condition 


Value 


Unit 


Notes 


Height 

Height adjustment 

Width 

Depth 


To top of meter trim 


925 

-0+20 

1,445 

873 


mm 
mm 
mm 
mm 




Weight 


Including both legs 
Each leg 


108 
4 


Kg 
Kg 




Heat dissipation: 


AWS 924 
AWS 948 


550 
650 


W 
W 




Voltage 


Input range 


100-240 


V 


±10% 


Current: 


Over voltage range: 


7.5-3.1 


A 




Power factor 




0.95 






Fusing 


None 








Noise 


Fanless 








Connectors: 


Mains input 
Serial 
VGA Out 


IEC male 
9-way D-type \ 
HD 15-way D- 


emale 
Type (640 x 


480 60Hz) 



AWS 924-948 Operator's Manual 



Appendices Page A- 1 



Appendices 



Console Dimensions 





u 

'djo 
o 
_J 

CD 

4— ' 
4— ' 

"o 



9ZL 







IIS 








298 






c 






00 


00 
LO 
00 












r 




c 







ue 


~~\. 


. 














( 




c i 




J- 







Appendices Page A-2 



AWS 924-948 Owner's Manual 



fi; Connector Details 



B: Connector Details 



XLR 3-Pin 

Dimensions: 19 x 60mm (approx) 

Cable Dia: 4mm - 8mm (typical) 

Pinout for balanced audio: 

Pin I Screen 

Pin 2 Hot (+ve) 

Pin 3 Cold (-ve) 



Plug 



Socket 



/ 2 1 

.ono 



Connectors Viewed From Wiring Side 




I/4" TRS jack 

Pinout for balanced audio inputs and outputs: 

Tip Hot (+ve) 

Ring Cold (-ve) 

Sleeve Screen 

Pinout for Instrument / Footswitch* inputs: 

Tip Signal Hot (+ve) / switch 

Sleeve Screen / 0V 

*Connect Tip to Sleeve to trigger input 



Stereo Plug 



<IE 




Tip Ring Sleeve 
(T) (R) (S) 



Mono Plug 




Tip Sleeve 

CD (S) 



D-Type Multipin 


Connectors Viewed From Wiring Side 




25 -way 

Dimensions: 55 x 1 5mm (approx) 


( ^ 




( 13 12 11 10 9 8 7 6 5 4 3 2 1 ") 

^ \ OOOOOOOOOOOOO / ^ 

^ \ OOOOOOOOOOOO i^ 
V 25 24 23 22 21 20 19 18 17 16 15 14 J 

V > 


Plug 


Cable Dia: 8mm (typical) 






f >l 






( 1 2 3 4 5 6 7 8 9 10 11 12 13 ") 

^ \ OOOOOOOOOOOOO / x-v 

^ \ OOOOOOOOOOOO i^ 
V 14 15 16 17 18 19 20 21 22 23 24 25 J 

V J 


Socket 



DIN 5-Pin 180° 

Dimensions: 15mm dia. 

Cable Dia: 4mm - 7mm (typical) 

Pinout used for MIDI signals: 



Pin 1 


n/c 


Pin 2 


Screen 


Pin 3 


n/c 


Pin 4 


Midi + 


Pin 5 


Midi- 



Plug 



Socket 






Connectors Viewed 
From Wiring Side 



Plug-Plug 
MIDI Lead 



AWS 924-948 Operator's Manual 



Appendices Page A-3 



Appendices 



This page is intentionally almost blank 



Appendices Page A-4 AWS 924-948 Owner's Manual 



C: Connector Pinouts 



C: Connector Pinouts 



Ext A 1-4 / Ext B / Meter Out / Monitor Insert 


Location: 




Center section rear panel 










Connector Type 


y 


25-way D-type female 










Cct 


Hot 


Cold 


Screen 


Ext A In 1-4 


Ext B input 


Meter Output 


Mon Ins Send 


Mon Ins Ret 


1 


24 


12 


25 


Left 


l-Left 


Left 


Left 


Left 


2 


10 


23 


II 


Right 


1 -Right 


Right 


Right 


Right 


3 


21 


9 


22 


Centre 


2-Left 


Centre 


Centre 


Centre 


4 


7 


20 


8 


LFE 


2-Right 


LFE 


LFE 


LFE 


5 


18 


6 


19 


Surr' Left 


3-Left 


Surr' Left 


Surr' Left 


Surr' Left 


6 


4 


17 


5 


Surr' Right 


3-Right 


Surr' Right 


Surr' Right 


Surr' Right 


7 


15 


3 


16 


- 


4-Left 


Solo Left 


Lt to Decoder 


Lt from Enc 


8 


1 


14 


2 


- 


4-Right 


Solo Right 


Rt to Decoder 


Rt from Enc 



Mon A / Mon B / 8 Track Bus Out / Cue FX Bus Out / Bus Inject 


Location: 




Center section rear panel 










Connector Type 


i* 


25-way D-type female 










Cct 


Hot 


Cold 


Screen 


Mon A 


Mon B 


8 Track Out 


CUE/FX Out 


Cue Bus In 


1 


24 


12 


25 


Main A Left 


Main B Left 


Bus 1 


St Cue AL 


St Cue in AL 


2 


10 


23 


II 


Main A Right 


Main B Right 


Bus 2 


St Cue AR 


St Cue in AR 


3 


21 


9 


22 


Main A Centre 


Main B Centre 


Bus 3 


St Cue BL 


St Cue in BL 


4 


7 


20 


8 


Main A LFE 


Main B LFE 


Bus 4 


St Cue BR 


St Cue in BR 


5 


18 


6 


19 


Main A Ls 


Main B Ls 


Bus 5 


FX 1 


FX 1 in 


6 


4 


17 


5 


Main A Rs 


Main B Rs 


Bus 6 


FX2 


FX2in 


7 


15 


3 


16 


Mini A Left 


Mini B Left 


Bus 7 


FX3 


FX3 in 


8 


1 


14 


2 


Mini A Left 


Mini B Left 


Bus 8 


FX4 


FX4in 



12 3 4 5 



7 8 




"-circuit representation for 25- 
way D-type connectors 



AWS 924-948 Operator's Manual 



Appendices Page A-5 



C: Connector Pinouts 



Connector Pinouts . . . continued 



Red Light / Talkback / GP IO 


Location: Centre Section Top Rear Panel 


Connector Type: 25-way D-type female 


Pin 


Description 


Notes: 


1 


Red Light Relay contact TV 


Normally open - 


- follows Red Light switch. See Note below. 


14 


Red Light Relay contact 'B' 


" 


« « « 


2 


OV 






15 


GP Input 1 (not used) 






3 


GP Input 2 (not used) 






16 


Monitor Cut 






4 


Monitor Dim 






17 


Slate Switch 






5 


Listen Switch 






18 


Red Light Switch 






6 


TB All Switch 






19 


FB A Switch 






7 


FB B Switch 






20 


Ext TB Switch 






8 


+4V 


Max 200mA 




21 


Slate Tally 






9 


Listen Tally 






22 


Red Light Tally 






10 


TB All Tally 






23 


FB A Tally 






II 


FB B Tally 






24 


Ext TB Tally 






12 


- 






25 


- 






13 


- 







Notes: 

• All switch inputs are active low (ie. connect to 0V to trigger). Inputs are pulled up internally to +4V via a 3K9 
resistor. Inputs are also diode clamped to 0V and +4V to protect the input circuitry. 

• All tallies are open collector pull-down using a 47R series resistor. 

• Red Light tally contacts are via DIL relay. Contact rating is lOOVdc, l25Vac, 1 00mA max. 

^A Do not use the output contacts to directly switch capacitive or reactive loads; always use an external relay 
with a suitable contact rating. 

Pinouts not shown: 

• Serial ports I and 2 are for specific SSL equipment and their pinouts are therefore not included. 

• The VGA connector follows the standard VGA pinout. 



Appendices Page A-6 



AWS 924-948 Owner's Manual 



D: Environmental Specifications 



D: Environmental Specification 



Temperature 




Operating: 


5 to 30 Deg. C 








Non-operating: 


-20 to 50 Deg. C 








Max. Gradient: 


15 Deg. C/Hour 


Relative Hum 


dity 


Operating: 


20 to 80 % 








Non-operating: 


5 to 90 % 








Max. Wet bulb: 


29 Deg. C (non-condensing) 


Vibration 






Operating: 
Non-operating, power off: 


<0.2G (3- 100Hz.) 
<0.4G (3- 100Hz.) 


Shock 






Operating: 
Non-operating: 


< 2 G ( 1 OmSec. Max.) 

< 10 G (lOmSec. Max.) 


Altitude 






Operating: 


to 3000 m 


(Above sea 


level) 


Non-operating: 


to 1 2000 m 



AWS 924-948 Operator's Manual 



Appendices Page A-7 



Appendices 



This page is intentionally almost blank 



Appendices Page AS AWS 924-948 Owner's Manual 



E: MIDI Implementation 



E: MIDI (HUI) Implementation Chart 



Function 


Transmitted 


Recognised 


Remarks 


Basic Channel Default Changed 


X 


X 


Channel 1 only 


Mode Default 

Messages 
Altered 












Not Applicable 


Note Number True Voice 


X 






X 


90 00 7F Echoed - Sent 
90 00 00 active sensing only 


Velocity Note ON 
Note OFF 










After-touch Keys 

Channels 






X 




Meters 


Pitch Bend 










Control Change 


00-07 Faders 

(20-27) 

08-OB Ctrl Pots 

OD Jog wheel 
OF (2F) Switches 

40-4C V-Pots 


OC (2C) LEDs 

Servo Faders 

Relays 

Clicker 

Tone 

Touch Off 


Fixed specification 
Fader resolution 
(00-08 MSB) 
(20-27 LSB) 


Program Change True number 










System Exclusive 





X 


Character displays. System 
Parameters 


System Common Song Pos 
Song Sel 
Tune 














System Real-time Clock (F8) 
Commands 
MTC 
Local on/Off 
















Aux Messages All Notes Off 
Active Sensing 
System Reset 















Mode l:Omni On, Poly 
Mode 3:Omni Off, Poly 



Mode 2: Omni On, Mono x: Yes 

Mode 4: Omni Off, Mono 0: No 



AWS 924-948 Operator's Manual 



Appendices Page A-9 



Appendices 



This page is intentionally almost blank 



Appendices Page A- 10 AWS 924-948 Owner's Manual 



F: Service & Warranty 



F: Service & Warranty Information 

Introduction 

Service will be primarily by on-site board exchange. 

The AWS contains a mix of analogue and digital boards. All use SMT (Surface Mount Technology) extensively and it is not 
possible to carry out field repair to component level, although electro-mechanical parts such as pots and switches can be 
replaced by a suitably trained technician. Replacing the entire console is unlikely to be an option due to the size of the 
console and the availability of a replacement. 

Many of the assemblies in the AWS are designed to be replaced by a technically aware person. 
The quickest way to resolve a problem is for your local distributor to supply you with a replacement part for you to fit. 
Troubleshooting - see Page A- 1 3 - lists those assemblies that may be changed by untrained staff, and gives instructions 
on how to change these items. 

Warranty 

All systems include 13 months on-site warranty from date of shipment or 12 months from date of delivery to the end 
user, whichever is the longer. The warranty covers all parts and labour, but does not include travel and accommodation 
expenses if an engineer has to travel more than 75 miles (120 kilometres) to your facility. 

Consumable items such as lamps, accidental damage and damage caused by operation of the equipment outside of Solid 
State Logic's recommended operating conditions (see Sections I and 3 of this manual) are not covered by this warranty. 
Further details may be found in Solid State Logic's Conditions of Trading (printed on the reverse of all Solid State Logic 
invoices). 

Note that service visits to remedy problems found to be caused by a fault in third party equipment will be charged for at 
Solid State Logic's current service rate. 

Out of Warranty Repairs 

Replacement assemblies will be charged at Solid State Logic's current service exchange price for the faulty part plus 
shipping costs. Service visits will be charged at Solid State Logic's current service rate. 

What to do if you have a problem 

Follow the instructions in the Troubleshooting section (Page A- 1 3), to confirm that the fault lies within the AWS 
system. If this suggests there is a fault with the AWS, then contact your local distributor who will either supply a 
replacement assembly or arrange for a visit from an engineer to resolve the problem. 

Website Support 

Solid State Logic's website (www.solidstatelogic.com) includes fault finding tips, downloads of the latest AWS 
documentation, and an extensive Q&A knowledge base system.. 

Out-of-hours Support 

Solid State Logic's out-of-hours pager service does not support the AWS. 



AWS 924-948 Operator's Manual Appendices Page A- 1 1 



Appendices 



This page is intentionally almost blank 



Appendices Page A- 12 AWS 924-948 Owner's Manual 



C: Troubleshooting 



G: Troubleshooting 

Introduction 

The following pages are not intended to teach you how to repair any fault on your AWS console, they are merely designed 
to guide you through the basic principles of locating and, where possible, working around faults, until a replacement part 
can be obtained. The AWS console has been designed with a very modular approach to hardware, which ensures that 
maintenance is quick and simple. The vast majority of components that make up the console, are 'plug in' cassettes that 
simply require the removal of three screws to enable their replacement. 

Locating Problems 

You should always check external equipment first (unless the fault is obviously within the console - such as loss of signal 
when the EQ is switched in). The AWS spends the majority of its life in a stationary position, whereas microphones, their 
cables and effects devices etc. are constantly on the move, and hence are much more likely to incur damage. 

Once you have established that the problem lies within the console, you need to determine whether the problem is due 
to an operational error, or hardware failure. The most common, and easiest to solve, problems are operational errors, 
and you should eliminate these first. Refer to the relevant section in this manual, and ensure that you have followed the 
correct procedure. 

If you have confirmed that the problem is due neither to external equipment nor operational error, then you may have a 
hardware fault. Check the troubleshooting tables (on Pages 20-21) for guidance. If your particular problem is not 
highlighted then you will have to diagnose the fault yourself, using the guidelines given below. Ensure that you read the 
paragraphs on Replacing Modules (Page A- 1 5) before attempting any maintenance. 

In most cases, a fault can be located in minutes, with little technical knowledge. The key to correctly diagnosing a hardware 
fault is understanding the console's signal flow. Block diagrams detailing analogue signal flow, digital control bus structure 
and power wiring, can be found at the end of this section. 

Hardware faults can be defined as one of three types: Audio, Control, or Power. Power faults, with the exception of a 
poorly seated connector or blown fuse, are probably best left to your distributor. If you wish to know more about the 
AWS power supply, you can download information from our website. Fault finding Audio and Control problems, however, 
is well within the capability of all users. 

Audio Faults 

Audio faults will most likely manifest themselves as partial, or total, signal loss, or distortion of the audio signal. Referring 
to the Channel and Centre section block diagrams, you can see that there are many possible signal paths through the 
console. Logical routing, and monitoring of signals at different points, will enable you to easily locate the faulty module. 

To give an example of an audio fault, examine the following problem. By working through this example you will see the 
basic principles of fault finding at work. You have Channel 24 routed to Track Busses I and 2 pre-fader. When monitoring 
the Track Busses you notice that the audio can only be heard on the left monitor output. 

Your first step is to refer to the AWS Centre Section block schematic. From this you will see that the channel's output 
passes through five different modules before reaching the monitors. We can halve the problem by checking the signal path 
halfway through the chain. The monitor meters are fed from the output of the 62995 I module. Do the meters show the 
same level on left and right? If the meters show the same level then the problem is post the 62995 I card on either the 
629952, 629953 or 629954 card. If the meters show different levels, then the problem is either on the channel's output, 
the 629919X1 card or the 629951 card. 

For the sake of this example we will assume that the level shown on the meters was different. Using the same principle 
we will try to eliminate modules from the signal path. Again referring to the AWS block schematics you can see that the 
Track Bus metering is taken post the 629919X1 card's output, but pre the 629951 module's input. Do the Track Bus 
meters show the same signal level? If they do, then the problem is on the 629951 card; if not then the problem lies with 
the channel strip or the 629919 module. 



AWS 924-948 Operator's Manual Appendices Page A- 1 3 



C: Troubleshooting 



Again for the sake of the example, we will assume that the level on the Track Bus meters was different. Halving the signal 
path again, de-assign Channel 24 from the Track Busses, route the same signal to Channel 23 and assign it to Track Busses 
I and 2. Can signal be heard on the right monitor? If it can then you have identified in a matter of minutes that Channel 
24 has a faulty Track Bus output stage. If audio cannot be heard, then you have identified that the 629919X1 Track Bus 
card is faulty. 

The next step in either case would be to follow the module removal instructions below and re-seat the module in its slot 
to ensure that a valid connection is made. Once re-seated, test the signal path again. If there is no change, a replacement 
will be required. 

Control Faults 

Control faults will typically result in either the corruption of display information, or the failure of encoders and switches. 
The majority of the console's display and control functions are performed by the 629645X1 CPU, which is located behind 
Bay 3's Meter Panel. The CPU uses two methods of control. These are Multidrop Bus and Live Bus. Both busses are 
bidirectional and carry control data, such as switch presses, to the CPU as well as display data, such as LED illumination 
commands, to the displays. 

Multidrop Bus data is used to control all of the console's audio processing modules, these are the 629921X1 Channel 
Strips, 629651X1 6-Track Select, 629652X1 2-Track Select, 626653X1 Gain and MDAC Control, 620654X1 Monitor 
Outputs, 629918X1/2 Dynamics, 629918X1/2 8-Track and Aux Bus, and the 629928X1 Compressor. All other panels are 
controlled by the Live Bus. Referring to the AWS Control Block Schematic you will see that four Multidrop busses, one 
per bay are used. The Multidrop data from the CPU is connected to each of the channel backplanes and the centre buscard 
using a 20-pin IDC ribbon connector. The audio processing card then sit on this bus, sending or receiving data as required. 

The following problem highlights a Multidrop Bus fault and explains how the fault might be located. After powering on the 
console you notice that all of Bay 2's channel strip LEDs are extinguished, and the switches do not respond; all other bays 
are working correctly. 

Once again refer to the AWS Control Block Schematic. From the diagram you can see that Multidrop Bus data for Bay 2 
is connected to socket PL2 on the 629645X1 CPU. Power down the console and remove the channel meter from Bay 3 
(refer to Replacing Modules on the following page). Located behind the channel meter is the CPU. Remove the metal 
screen which surrounds the CPU and locate connector PL2. Remove and then reinsert the connector to ensure that a 
sound connection is made. Re-assemble the console and check the condition of the fault. 

For the sake of the example we will assume that this did not resolve the problem. The next step would then be to inspect 
the other end of the Multidrop Bus connection. The diagram shows that the data ribbon connects to the CPUA socket 
on the 629640X1 Channel Backplane. Power down the console and remove Channels 15 and 16 as instructed in 
Replacing Modules (on the following page). Locate the CPUA connector and re-seat, then reassemble the desk and 
check the fault. 

Again we will assume that in this instance this did not resolve the problem. This leaves three possible causes. The first is 
that the channel backplane has developed a fault. The second is that one of the channel strips in Bay 2 has failed in such a 
way as to corrupt the data on the Multidrop Bus. The third is that the CPU card has developed a fault with the hardware 
that processes Multidrop Bus 2. 

The first cause is highly unlikely. The channel backplane contains no active components, only copper tracks, and as such 
can be discounted. The second cause is possible - to determine this, remove the channel strips from Bay 2, one by one, 
ensuring you power down the console each time, and check the condition of the fault. If, after removing a module, the 
remaining channel strips start to function, then you have located the problem. If you reach the last module and the fault 
still occurs, don't forget to swap the remaining module with one of the others to ensure it is not the cause of the problem. 
If the fault still persists then the cause must be the CPU. Once again, through a simple process of elimination, the cause 
of the fault has been located. 



Appendices Page A- 14 AWS 924-948 Owner's Manual 



C: Troubleshooting 



Unlike the Multidrop Bus which allows modules to be added and removed from the bus without effecting its integrity, the 
Live Bus passes through one module to the next. Therefore the removal of a Live Bus module may potentially disrupt 
other modules, depending on its position in the data chain. 

When fault finding Live Bus problems the same principles can be applied, as the following example shows. During a mix 
you suddenly notice that the channel meters in Bay I are all showing random patterns of illumination. 

As always the first step is to refer to the AWS Control Block Schematic. From the diagram you can see that Live Bus data 
from the CPU passes through Bay 2 and 3's Channel Meter Panels before reaching the Meter Panel in Bay I . As the channel 
meters in Bay 2 are functioning correctly, you can rule out the CPU and Bay 3's Meter Panel as potential causes of the 
problem. This leaves three potential causes. The first is that the data ribbon connection between the two panels is not 
seated correctly. The second is that the input stage to Bay I's Meter Panel is faulty. The third is that Bay 2's Meter Panel 
has a faulty output stage. 

To eliminate the first possibility, power down the console and re-seat the 16-pin IDC connector between the two panels. 
Re-power the console and check the condition of the fault. As in previous examples, we will assume that this did not 
resolve the problem. The next possibility to eliminate is that one of the Meter Panels is faulty. Power down the console 
and swap Meter Panels between Bays I and 2. Re-power the console. If the panel originally in Bay I was faulty, then neither 
Bay I or 2's metering will now function. In this cause you should revert to the original configuration and replace the faulty 
panel. If, however, the problem was due to the failure of Bay 2's Meter Panel output stage, then you should find that all 
your meters are now functioning correctly. As Bay I is not required to buffer data onto another panel, this fault will not 
effect the operation of the console and can be left in this position allowing you continue working unhindered. 

Replacing Modules 

Having identified the source of the problem, you are now in a position to replace the faulty part. If you purchased an AWS 
spares kit, then locate the relevant assembly and follow the replacement instructions below. If, however, you do not have 
a replacement card to hand, you should contact your local SSL distributor who will be able to supply you with a 
replacement. 

Removal of modules while power is applied to the console will almost certainly result in component failure 

The channel and centre section modules can easily be removed from the console for replacement, but first you must 
disconnect the console from its AC power source. Before turning off the power, make sure that you switch off, or 
overpatch, all monitor sends. If you power down the console with any of these connected, the DC thump generated could 
potentially damage your monitors. 



AWS 924-948 Operator's Manual Appendices Page A- IS 



C: Troubleshooting 



The Channel Strip (629921X1 / 629994X1) 

First, remove the scribble strip (three screws). Now remove the Solos and Cuts Panel (629922X1) that fits across the 
bottom of each bay of eight channels; remove the two countersunk screws, then carefully lift the panel clear onto a piece 
of foam or bubble wrap. Disconnect the ribbon and put the panel to one side. 

Each channel strip is connected to the frame of the console by three screws - one at the top next to the meters, one at 
the bottom (revealed when the Solo and Cuts Panel has been removed) and one at the rear of the console just above the 
channel's XLR connectors (you will have to look carefully to find this one). When the screws have been removed, screw 
the module puller into the top hole. Using both the puller, and the finger hole next to the bottom screw, pull the channel 
strip clear from its edge connectors. 




Appendices Page A- 1 6 



AWS 924-948 Owner's Manual 



C: Troubleshooting 



The Channel Fader (629924X1) 

First remove all of the fader knobs from the faders in that bay. Do this by simply pulling firmly on each one until it separates 
from the fader tang. Then, unscrew the six countersunk screws and remove the top plate. Each fader can then be lifted 
clear from its connector on the bus card. When reassembling, the top plate has locating pins that locate into each fader 
to ensure its correct positioning. 




AWS 924-948 Operator's Manual 



Appendices Page A- 17 



C: Troubleshooting 



The Channel Meter Panel (629923X1 / X2) 

First remove the top trim by unscrewing the five screws that secure it to the console frame, and lift it clear. Now refer 
to the illustration on Page A- 1 6. Each meter panel is secured by four screws across the top. Remove these and lift the 
meter panel clear, taking care to disconnect the ribbon connectors. 




Appendices Page A- IS 



AWS 924-948 Owner's Manual 



C: Troubleshooting 



Centre Section Cards 

Four centre section cards are located beneath the large panel that contains the Talkback and Oscillator controls, LCD 
display, and DAW soft keys. These are: 

•629651X3 6-Track Select 

• 629652X3 2-Track Select & Monitor Inserts 

• 629653X4 Gain and MDAC control/ Talkback and Listen 

• 629654X4 Monitor Outputs 

To access these cards, first remove the knob caps from the six rotary controls in the oscillator, listen mics etc. area. Now 
remove the four screws from the panel. Lift this panel onto its side, taking care not to damage the ribbon connecting it 
to the Motion Control panel. Beneath the panel is the metalwork containing the LCD screen. Unscrew the two screws at 
the bottom of this and lift it to one side. The cards are in numerical order from left to right: 651, 652, 653, 654. 

The remaining five audio cards can be removed in a similar way to the channel strips. In order, from left to right, they are: 

• 629928X2 Centre Section Compressor/Mix/Rec/Foldback 
•629918X1 Dynamics I 

•629918X2 Dynamics 2 

• 629919X1 8-Track/ Echo Returns 

• 629919X2 Aux Bus / Echo Returns 

Note: The two Dynamics cards (629918X1 and X2) are electronically identical. Three links (LKI, LK2 and LK3) are fitted 
to Dynamics I to differentiate between the two modules. For fault finding purposes the two Dynamics cards (629918X1 
and X2) may be swapped with each other. When exchanging the two modules ensure that only the module fitted in the 
Dynamics I slot has links LKI, LK2 and LK3 fitted. 



AWS 924-948 Operator's Manual Appendices Page A- 19 



G: Troubleshooting 



Troubleshooting Chart - Channel bays 



Problem Problem 


Check Check 


Solution Solution 


Channel Meter Panels do not 
function correctly. 


Are the ribbon connectors in the rear of 
the Meter Panels seated correctly? 


If no, re-seat as required. 


Swap Meter Panels 1 and 3. Do the meters 
in Bays 2 and 3 now work? Note: Channel 
Meter information from the CPU is 
buffered through Bay 3's Meter to Bay 2 
and then on to Bay 1 . 


If yes, replace the Meter 
Panel in Bay 1. 


Remove the Meter Panel in Bay 3. 
Remove the screening can fitted around the 
processor. Check the ribbon connection in 
socket PL6. 


if no, re-seat as required. 


Solo and Cuts Panel in one 
bay does not function. 


Is the ribbon connector on the rear of the 
panel seated correctly? 


If no, re-seat as required. 


Check fuse FSI_4V on the 626630X1 Fader 
Buscard. 


Replace as required - 
replacement fuses are 
supplied with the console. 


Swap the problem panel with a working 
panel from another bay. Does the problem 
stay in the same bay? 


If not, replace the Solo and 
Cuts Panel. 


Are the ribbon connections to the fader 
bus card in the bay displaying the fault 
seated correctly? 


Re-seat as required. 


Swap the fader bus card in the faulty bay 
with a known working bus card from an 
alternate bay. Does the problem stay in the 
same bay? 


If no, replace the fader bus 
card. 


Raising the Channel Fader 
gives no increase in channel 
gain. 


Swap the fader with one from an adjacent 
channel. Does the problem follow the 
fader? 


If yes, replace the fader. 


Swap the channel strip with an adjacent 
channel. Does the problem follow the 
channel strip? 


If yes, replace the channel 
strip. 


All channel strips in one bay 
do not function. 


Refering to Control Overview diagram, 
ensure that the Multidrop Bus connector 
between the Channel Backplane and the 
CPU is seated correctly. 


Re-seat as required. 



Appendices Page A-20 



AWS 924-948 Owner's Manual 



G: Troubleshooting 



Troubleshooting Chart - Centre sectioD 



Problem 


Check 


Solution 


Motion Control Panel does 
not function. 


Is the connector labelled IN on the Motion 
Control Panel seated correctly? 


If no, re-seat as required. 


Workstation Panel does not 
function. 


Is the connector labelled WSINOUT on the 
Motion Control Panel seated correctly? 


If no, re-seat as required. 


Is the connector labelled MONINOUT on the 
Monitor Control Panel seated correctly? 


If no, re-seat as required. 


Monitor Panel does not 
function. 


Is the connector labelled MONINOUT on the 
Motion Control Panel seated correctly? 


If no, re-seat as required. 


Is the connector labelled MONINOUT on the 
Monitor Panel seated correctly? 


If no, re-seat as required. 


GPIO port does not 
function. 


Is the connector labelled PL2 on the Motion 
Control Panel seated correctly? 


If no, re-seat as required. 


Is the connector labelled MONINOUT on the 
Motion Control Panel seated correctly? 


If no, re-seat as required. 


Is the connector labelled MONINOUT on the 
Monitor Panel seated correctly? 


If no, re-seat as required. 


Video Display does not 
function. 


Remove Workstation Panel. Remove display 
panel. Is the 30-pin ribbon connector seated 
correctly? 


If no, re-seat as required. 


Is the connector labelled DVIDE02 on the 
CPU card seated correctly? 


If no, re-seat as required. 


Centre Section meter does 
not function. 


Is the connector labelled IN on the Meter 
Panel seated correctly? 


If no, re-seat as required. 


Is the connector labelled PLI 1 on the CPU 
seated correctly? 


If no, re-seat as required. 



AWS 924-948 Operator's Manual 



Appendices Page A-2 1 



Appendices 



This page is intentionally almost blank 



Appendices Page A-22 AWS 924-948 Owner's Manual 



H: Glossary 



H: Glossary Of Terms 



Analogue Focus Mode 



Channel faders control the channel audio; channel meters show analogue input levels. 
Channel Rotary Encoders control DAW parameters. 



Bass Management 



A system designed to ensure that all the bass recorded on your DAW tracks is 
reproduced correctly on the monitor speakers. Put simply, bass content below the 
cutoff frequency of the main monitors is combined and fed to a subwoofer, thereby 
effectively extending the response of the main outputs. 



Channel V-Pot 



The rotary controls on the channel Solos and Cuts panels. 



Console Focus Button 



The button on the Master Control Panel that looks like this: 
It selects Analogue or DAW Focus Mode. 



DAW Focus Mode 



Channel faders control DAW fader levels. Channel meters show DAW meter levels. 
Channel Rotary Encoders are available for other DAW functions such as pan or send 
controls. 



Master Control Panel 



The panel below the screen and soft key area. 



Master Send V-Pot 



The only knob on the Master Control panel - used to cycle through available sends. 
Also incorporates a 'push to flip' function used to flip send levels from the rotary 
encoders to the channel faders, 



Plug-in Editor V-Pots 



The four rotary encoders below the TFT screen. 



Track Busses 



Eight console-wide mono busses that can be used as feeds to your DAW inputs, as FX 
sends, or pretty much anything else you can think of. 



AWS 924-948 Operator's Manual 



Appendices Page A-23 



Appendices 



This page is intentionally almost blank 



Appendices Page A-24 AWS 924-948 Owner's Manual 



/: Link Options 



I: Link Options 

There are a number of internal link options that may require adjustment. Refer to page A- 1 4, 15 for information on 
accessing the relevant PCB. 



629653X1/2 S/A GAIN & MDAC CONTROL / TB & LISTEN 
Link Position Default Function 

OV to OVA 

• Ext TB Mic input has 48V phantom power 
Ext TB Mic input has no phantom power 
Ext TB Mic has 1.5V phantom (for electret microphones) 
Ext TB Input balanced 

Ext TB Input pin 3 grounded (for use with electret mic) 
Listen Mic input has 48V phantom power 
Listen Mic input has no phantom power 
LFE 80Hz hi-pass filter rolls off at 1 2dB/octave 
LFE 80Hz hi-pass filter rolls off at 24dB/octave 

• Surround feeds LFE when Bass Management is On 
Surround does not feed LFE 

*Use in conjunction with LKI2 on 629654X2 card 



LK6 


Fitted 


LKI 


A 




B 




C 


LK2 


1-2 (Left) 




2-3 (Right) 


LK3 


A 




B 


LK4/5 


1-2 (Right) 




2-3 (Left) 


629653X2 only 


LKIO* 


1-2 




2-3 



629654X1/2 S/A MON OUTPUTS 



Link 


Position 


Default 


LK7 


Fitted 


• 


LKI/2 


A 


• 




B 


- 


LK3/4 


A 


• 




B 


- 


LK5/6 


A 


• 




B 


- 


LK8/I0 


A 


• 




B 


- 


LK9/II 


A 


• 




B 


- 


629654X2 


only 




LKI 2* 


Fitted 
Not fitted 


• 



Function 

OV to OVA 

Left 80Hz lo-pass filter rolls off at l2dB/octave 

Left 80Hz lo-pass filter rolls off at 24dB/octave 

Right 80Hz lo-pass filter rolls off at l2dB/octave 

Right 80Hz lo-pass filter rolls off at 24dB/octave 

Centre 80Hz lo-pass filter rolls off at 1 2dB/octave 

Centre 80Hz lo-pass filter rolls off at 24dB/octave 

Left Surround 80Hz lo-pass filter rolls off at l2dB/octave 

Left Surround 80Hz lo-pass filter rolls off at 24dB/octave 

Right Surround 80Hz lo-pass filter rolls off at l2dB/octave 

Right Surround 80Hz lo-pass filter rolls off at 24dB/octave 

Bass management switches Hi Pass filters in to surround 
Surround Hi Pass filters disabled 



*Use in conjunction with LKIO on 629653X2 card 



AWS 924-948 Operator's Manual 



Appendices Page A-25 



J: Block Diagrams 



J; Block Diagrams 



Following this page you should find four block diagrams. Two show signal flow in the AWS channel strip and centre 
section; two cover the power and control circuits. If any drawing is missing, please contact your local SSL distributor for 
a replacement. 



Appendices Page A-26 AWS 924-948 Owner's Manual 



71mm 



Solid State Logic 

AWS 
924-948 

Owner's 
Manual 



82BAIM0IB 



30mm 



71mm 



Solid State Logic 

AWS 
924-948 

Owner's 
Manual 



82BAIM0IB 



30mm